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Last updated on May 01, 2024

60 Literary Devices With Examples: The Master List

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 and pacing 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.

60 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. 

Similar 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

Similar 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

Similar 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

Similar 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 .)

Similar 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.

Similar 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. 

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, just as 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.

Similar 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.”

Similar 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).

Similar 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. 

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. 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. 

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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…”

Similar 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.”

Similar 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.

Similar 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.

Similar 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.

Similar 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

Similar 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.”

Similar 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.

Similar 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)

Similar 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. 

Similar terms: anthropomorphism, personification

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.

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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

94 comments.

Very nice the litrery divices

Brilliant litery devices

Love this article thank you

My stoonts confess to having trouble with “poultry”.

I love this literary term it help a lot

thank you this was life-changing

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!

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

[…] 33 Common Literary Devices: Definitions, Examples, and Exercises […]

[…] 44 Common Literary Devices: Definitions, Examples, and Exercises […]

Thanks a lot for this it was really nice, good and fun to read it and it was really helpful for me as a student👔so please keep up with the good work 😉🌹💖😚😍💝💞💐

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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!

I have a literature exam coming up,so this was much needed.Thank you!

Indeed this has been of great help to me.

I am so greatful of this website it really helps me a lot about myself and my family

This is awesome

This website is very useful to understand litery devices…

thanks it was helpful

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.

It awesome and amazing

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.

Helped alot😊

This has truly helped me alot. Definitely great

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.

This is awesome,it truly help me alot

It was great fun I had an amazing time doing the literary exercises and they helped so much. They really expanded my knowledge of the entire topic it was a wonderful thing to read, it will definitely help me with any English essay I have in the future.

It was very helpful. I must say that I have a better understanding of these literary devices. It was wonderful reading them.

I am overjoyed in knowing that we have different types of literary devices in literature. Thank you for this interesting article.

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Thank you so much, I was literarily dying because of my English final!! I needed all these literal devices.

This article has really elevated me in the world of Literature.Thanks sir

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The articles are well written and the concepts well explained to the understanding of a beginner. The simplified way the author explained every term makes the article not only an interesting read but also a good note for teaching.

The litrarery device is the best way to get a knowledge in education

I liked it and the English is understandable

Can Dystopia be considered a kind of literary device?

Thank you so much for this! It helped me get ready for my English exam.

Best of luck on your exam, Olive!

Thank you so much! I learned so much that I can use in my upcoming assignments for writing.

Thank you so much . I learned so much understanding of my semester exams

Exactly this was really really helpful to everyone including me

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Great definition and examples

I love this so much

[…] 112 Common Literary Devices: Definitions, Examples, and Exercises […]

This was Uber helpful! BUT, I do wish that we got more examples, and I can see why you made it shorter. If you put examples for all of them, then this would be really long.

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Literary Devices & Terms

An acrostic is a piece of writing in which a particular set of letters—typically the first letter of each line, word, or paragraph—spells out a word or phrase with special significance to the text. Acrostics... (read full acrostic explanation with examples) An acrostic is a piece of writing in which a particular set of letters—typically the first letter of each line,... (read more)

An allegory is a work that conveys a hidden meaning—usually moral, spiritual, or political—through the use of symbolic characters and events. The story of "The Tortoise and The Hare" is a well-known allegory with a... (read full allegory explanation with examples) An allegory is a work that conveys a hidden meaning—usually moral, spiritual, or political—through the use of symbolic characters and... (read more)

Alliteration is a figure of speech in which the same sound repeats in a group of words, such as the “b” sound in: “Bob brought the box of bricks to the basement.” The repeating sound... (read full alliteration explanation with examples) Alliteration is a figure of speech in which the same sound repeats in a group of words, such as the... (read more)

In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to other literary works, famous individuals, historical events, or philosophical ideas, and they do so in... (read full allusion explanation with examples) In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to... (read more)

An anachronism is a person or a thing placed in the wrong time period. For instance, if a novel set in Medieval England featured a trip to a movie-theater, that would be an anachronism. Although... (read full anachronism explanation with examples) An anachronism is a person or a thing placed in the wrong time period. For instance, if a novel set... (read more)

Anadiplosis is a figure of speech in which a word or group of words located at the end of one clause or sentence is repeated at or near the beginning of the following clause or... (read full anadiplosis explanation with examples) Anadiplosis is a figure of speech in which a word or group of words located at the end of one... (read more)

An analogy is a comparison that aims to explain a thing or idea by likening it to something else. For example, a career coach might say, "Being the successful boss or CEO of a company... (read full analogy explanation with examples) An analogy is a comparison that aims to explain a thing or idea by likening it to something else. For... (read more)

An anapest is a three-syllable metrical pattern in poetry in which two unstressed syllables are followed by a stressed syllable. The word "understand" is an anapest, with the unstressed syllables of "un" and "der" followed... (read full anapest explanation with examples) An anapest is a three-syllable metrical pattern in poetry in which two unstressed syllables are followed by a stressed syllable.... (read more)

Anaphora is a figure of speech in which words repeat at the beginning of successive clauses, phrases, or sentences. For example, Martin Luther King's famous "I Have a Dream" speech contains anaphora: "So let freedom... (read full anaphora explanation with examples) Anaphora is a figure of speech in which words repeat at the beginning of successive clauses, phrases, or sentences. For... (read more)

An antagonist is usually a character who opposes the protagonist (or main character) of a story, but the antagonist can also be a group of characters, institution, or force against which the protagonist must contend.... (read full antagonist explanation with examples) An antagonist is usually a character who opposes the protagonist (or main character) of a story, but the antagonist can... (read more)

Antanaclasis is a figure of speech in which a word or phrase is repeated within a sentence, but the word or phrase means something different each time it appears. A famous example of antanaclasis is... (read full antanaclasis explanation with examples) Antanaclasis is a figure of speech in which a word or phrase is repeated within a sentence, but the word... (read more)

Anthropomorphism is the attribution of human characteristics, emotions, and behaviors to animals or other non-human things (including objects, plants, and supernatural beings). Some famous examples of anthropomorphism include Winnie the Pooh, the Little Engine that Could, and Simba from... (read full anthropomorphism explanation with examples) Anthropomorphism is the attribution of human characteristics, emotions, and behaviors to animals or other non-human things (including objects, plants, and supernatural beings). Some famous... (read more)

Antimetabole is a figure of speech in which a phrase is repeated, but with the order of words reversed. John F. Kennedy's words, "Ask not what your country can do for you, ask what you... (read full antimetabole explanation with examples) Antimetabole is a figure of speech in which a phrase is repeated, but with the order of words reversed. John... (read more)

Antithesis is a figure of speech that juxtaposes two contrasting or opposing ideas, usually within parallel grammatical structures. For instance, Neil Armstrong used antithesis when he stepped onto the surface of the moon in 1969... (read full antithesis explanation with examples) Antithesis is a figure of speech that juxtaposes two contrasting or opposing ideas, usually within parallel grammatical structures. For instance,... (read more)

An aphorism is a saying that concisely expresses a moral principle or an observation about the world, presenting it as a general or universal truth. The Rolling Stones are responsible for penning one of the... (read full aphorism explanation with examples) An aphorism is a saying that concisely expresses a moral principle or an observation about the world, presenting it as... (read more)

Aphorismus is a type of figure of speech that calls into question the way a word is used. Aphorismus is used not to question the meaning of a word, but whether it is actually appropriate... (read full aphorismus explanation with examples) Aphorismus is a type of figure of speech that calls into question the way a word is used. Aphorismus is... (read more)

Aporia is a rhetorical device in which a speaker expresses uncertainty or doubt—often pretended uncertainty or doubt—about something, usually as a way of proving a point. An example of aporia is the famous Elizabeth Barrett... (read full aporia explanation with examples) Aporia is a rhetorical device in which a speaker expresses uncertainty or doubt—often pretended uncertainty or doubt—about something, usually as... (read more)

Apostrophe is a figure of speech in which a speaker directly addresses someone (or something) that is not present or cannot respond in reality. The entity being addressed can be an absent, dead, or imaginary... (read full apostrophe explanation with examples) Apostrophe is a figure of speech in which a speaker directly addresses someone (or something) that is not present or... (read more)

Assonance is a figure of speech in which the same vowel sound repeats within a group of words. An example of assonance is: "Who gave Newt and Scooter the blue tuna? It was too soon!" (read full assonance explanation with examples) Assonance is a figure of speech in which the same vowel sound repeats within a group of words. An example... (read more)

An asyndeton (sometimes called asyndetism) is a figure of speech in which coordinating conjunctions—words such as "and", "or", and "but" that join other words or clauses in a sentence into relationships of equal importance—are omitted.... (read full asyndeton explanation with examples) An asyndeton (sometimes called asyndetism) is a figure of speech in which coordinating conjunctions—words such as "and", "or", and "but"... (read more)

A ballad is a type of poem that tells a story and was traditionally set to music. English language ballads are typically composed of four-line stanzas that follow an ABCB rhyme scheme. (read full ballad explanation with examples) A ballad is a type of poem that tells a story and was traditionally set to music. English language ballads... (read more)

A ballade is a form of lyric poetry that originated in medieval France. Ballades follow a strict rhyme scheme ("ababbcbc"), and typically have three eight-line stanzas followed by a shorter four-line stanza called an envoi.... (read full ballade explanation with examples) A ballade is a form of lyric poetry that originated in medieval France. Ballades follow a strict rhyme scheme ("ababbcbc"),... (read more)

Bildungsroman is a genre of novel that shows a young protagonist's journey from childhood to adulthood (or immaturity to maturity), with a focus on the trials and misfortunes that affect the character's growth. (read full bildungsroman explanation with examples) Bildungsroman is a genre of novel that shows a young protagonist's journey from childhood to adulthood (or immaturity to maturity),... (read more)

Blank verse is the name given to poetry that lacks rhymes but does follow a specific meter—a meter that is almost always iambic pentameter. Blank verse was particularly popular in English poetry written between the... (read full blank verse explanation with examples) Blank verse is the name given to poetry that lacks rhymes but does follow a specific meter—a meter that is... (read more)

A cacophony is a combination of words that sound harsh or unpleasant together, usually because they pack a lot of percussive or "explosive" consonants (like T, P, or K) into relatively little space. For instance, the... (read full cacophony explanation with examples) A cacophony is a combination of words that sound harsh or unpleasant together, usually because they pack a lot of... (read more)

A caesura is a pause that occurs within a line of poetry, usually marked by some form of punctuation such as a period, comma, ellipsis, or dash. A caesura doesn't have to be placed in... (read full caesura explanation with examples) A caesura is a pause that occurs within a line of poetry, usually marked by some form of punctuation such... (read more)

Catharsis is the process of releasing strong or pent-up emotions through art. Aristotle coined the term catharsis—which comes from the Greek kathairein meaning "to cleanse or purge"—to describe the release of emotional tension that he... (read full catharsis explanation with examples) Catharsis is the process of releasing strong or pent-up emotions through art. Aristotle coined the term catharsis—which comes from the... (read more)

Characterization is the representation of the traits, motives, and psychology of a character in a narrative. Characterization may occur through direct description, in which the character's qualities are described by a narrator, another character, or... (read full characterization explanation with examples) Characterization is the representation of the traits, motives, and psychology of a character in a narrative. Characterization may occur through... (read more)

Chiasmus is a figure of speech in which the grammar of one phrase is inverted in the following phrase, such that two key concepts from the original phrase reappear in the second phrase in inverted... (read full chiasmus explanation with examples) Chiasmus is a figure of speech in which the grammar of one phrase is inverted in the following phrase, such... (read more)

The word cinquain can refer to two different things. Historically, it referred to any stanza of five lines written in any type of verse. More recently, cinquain has come to refer to particular types of... (read full cinquain explanation with examples) The word cinquain can refer to two different things. Historically, it referred to any stanza of five lines written in... (read more)

A cliché is a phrase that, due to overuse, is seen as lacking in substance or originality. For example, telling a heartbroken friend that there are "Plenty of fish in the sea" is such a... (read full cliché explanation with examples) A cliché is a phrase that, due to overuse, is seen as lacking in substance or originality. For example, telling... (read more)

Climax is a figure of speech in which successive words, phrases, clauses, or sentences are arranged in ascending order of importance, as in "Look! Up in the sky! It's a bird! It's a plane! It's... (read full climax (figure of speech) explanation with examples) Climax is a figure of speech in which successive words, phrases, clauses, or sentences are arranged in ascending order of... (read more)

The climax of a plot is the story's central turning point—the moment of peak tension or conflict—which all the preceding plot developments have been leading up to. In a traditional "good vs. evil" story (like many superhero movies)... (read full climax (plot) explanation with examples) The climax of a plot is the story's central turning point—the moment of peak tension or conflict—which all the preceding plot... (read more)

Colloquialism is the use of informal words or phrases in writing or speech. Colloquialisms are usually defined in geographical terms, meaning that they are often defined by their use within a dialect, a regionally-defined variant... (read full colloquialism explanation with examples) Colloquialism is the use of informal words or phrases in writing or speech. Colloquialisms are usually defined in geographical terms,... (read more)

Common meter is a specific type of meter that is often used in lyric poetry. Common meter has two key traits: it alternates between lines of eight syllables and lines of six syllables, and it... (read full common meter explanation with examples) Common meter is a specific type of meter that is often used in lyric poetry. Common meter has two key... (read more)

A conceit is a fanciful metaphor, especially a highly elaborate or extended metaphor in which an unlikely, far-fetched, or strained comparison is made between two things. A famous example comes from John Donne's poem, "A... (read full conceit explanation with examples) A conceit is a fanciful metaphor, especially a highly elaborate or extended metaphor in which an unlikely, far-fetched, or strained... (read more)

Connotation is the array of emotions and ideas suggested by a word in addition to its dictionary definition. Most words carry meanings, impressions, or associations apart from or beyond their literal meaning. For example, the... (read full connotation explanation with examples) Connotation is the array of emotions and ideas suggested by a word in addition to its dictionary definition. Most words... (read more)

Consonance is a figure of speech in which the same consonant sound repeats within a group of words. An example of consonance is: "Traffic figures, on July Fourth, to be tough." (read full consonance explanation with examples) Consonance is a figure of speech in which the same consonant sound repeats within a group of words. An example... (read more)

A couplet is a unit of two lines of poetry, especially lines that use the same or similar meter, form a rhyme, or are separated from other lines by a double line break. (read full couplet explanation with examples) A couplet is a unit of two lines of poetry, especially lines that use the same or similar meter, form... (read more)

A dactyl is a three-syllable metrical pattern in poetry in which a stressed syllable is followed by two unstressed syllables. The word “poetry” itself is a great example of a dactyl, with the stressed syllable... (read full dactyl explanation with examples) A dactyl is a three-syllable metrical pattern in poetry in which a stressed syllable is followed by two unstressed syllables.... (read more)

Denotation is the literal meaning, or "dictionary definition," of a word. Denotation is defined in contrast to connotation, which is the array of emotions and ideas suggested by a word in addition to its dictionary... (read full denotation explanation with examples) Denotation is the literal meaning, or "dictionary definition," of a word. Denotation is defined in contrast to connotation, which is... (read more)

The dénouement is the final section of a story's plot, in which loose ends are tied up, lingering questions are answered, and a sense of resolution is achieved. The shortest and most well known dénouement, it could be... (read full dénouement explanation with examples) The dénouement is the final section of a story's plot, in which loose ends are tied up, lingering questions are answered, and... (read more)

A deus ex machina is a plot device whereby an unsolvable conflict or point of tension is suddenly resolved by the unexpected appearance of an implausible character, object, action, ability, or event. For example, if... (read full deus ex machina explanation with examples) A deus ex machina is a plot device whereby an unsolvable conflict or point of tension is suddenly resolved by... (read more)

Diacope is a figure of speech in which a word or phrase is repeated with a small number of intervening words. The first line of Anna Karenina by Leo Tolstoy, "Happy families are all alike;... (read full diacope explanation with examples) Diacope is a figure of speech in which a word or phrase is repeated with a small number of intervening... (read more)

Dialogue is the exchange of spoken words between two or more characters in a book, play, or other written work. In prose writing, lines of dialogue are typically identified by the use of quotation marks... (read full dialogue explanation with examples) Dialogue is the exchange of spoken words between two or more characters in a book, play, or other written work.... (read more)

Diction is a writer's unique style of expression, especially his or her choice and arrangement of words. A writer's vocabulary, use of language to produce a specific tone or atmosphere, and ability to communicate clearly... (read full diction explanation with examples) Diction is a writer's unique style of expression, especially his or her choice and arrangement of words. A writer's vocabulary,... (read more)

Dramatic irony is a plot device often used in theater, literature, film, and television to highlight the difference between a character's understanding of a given situation, and that of the audience. More specifically, in dramatic... (read full dramatic irony explanation with examples) Dramatic irony is a plot device often used in theater, literature, film, and television to highlight the difference between a... (read more)

A dynamic character undergoes substantial internal changes as a result of one or more plot developments. The dynamic character's change can be extreme or subtle, as long as his or her development is important to... (read full dynamic character explanation with examples) A dynamic character undergoes substantial internal changes as a result of one or more plot developments. The dynamic character's change... (read more)

An elegy is a poem of serious reflection, especially one mourning the loss of someone who died. Elegies are defined by their subject matter, and don't have to follow any specific form in terms of... (read full elegy explanation with examples) An elegy is a poem of serious reflection, especially one mourning the loss of someone who died. Elegies are defined... (read more)

End rhyme refers to rhymes that occur in the final words of lines of poetry. For instance, these lines from Dorothy Parker's poem "Interview" use end rhyme: "The ladies men admire, I’ve heard, / Would shudder... (read full end rhyme explanation with examples) End rhyme refers to rhymes that occur in the final words of lines of poetry. For instance, these lines from... (read more)

An end-stopped line is a line of poetry in which a sentence or phrase comes to a conclusion at the end of the line. For example, the poet C.P. Cavafy uses end-stopped lines in his... (read full end-stopped line explanation with examples) An end-stopped line is a line of poetry in which a sentence or phrase comes to a conclusion at the... (read more)

Enjambment is the continuation of a sentence or clause across a line break. For example, the poet John Donne uses enjambment in his poem "The Good-Morrow" when he continues the opening sentence across the line... (read full enjambment explanation with examples) Enjambment is the continuation of a sentence or clause across a line break. For example, the poet John Donne uses... (read more)

An envoi is a brief concluding stanza at the end of a poem that can either summarize the preceding poem or serve as its dedication. The envoi tends to follow the same meter and rhyme... (read full envoi explanation with examples) An envoi is a brief concluding stanza at the end of a poem that can either summarize the preceding poem... (read more)

Epanalepsis is a figure of speech in which the beginning of a clause or sentence is repeated at the end of that same clause or sentence, with words intervening. The sentence "The king is dead,... (read full epanalepsis explanation with examples) Epanalepsis is a figure of speech in which the beginning of a clause or sentence is repeated at the end... (read more)

An epigram is a short and witty statement, usually written in verse, that conveys a single thought or observation. Epigrams typically end with a punchline or a satirical twist. (read full epigram explanation with examples) An epigram is a short and witty statement, usually written in verse, that conveys a single thought or observation. Epigrams... (read more)

An epigraph is a short quotation, phrase, or poem that is placed at the beginning of another piece of writing to encapsulate that work's main themes and to set the tone. For instance, the epigraph of Mary... (read full epigraph explanation with examples) An epigraph is a short quotation, phrase, or poem that is placed at the beginning of another piece of writing to... (read more)

Epistrophe is a figure of speech in which one or more words repeat at the end of successive phrases, clauses, or sentences. In his Gettysburg Address, Abraham Lincoln urged the American people to ensure that,... (read full epistrophe explanation with examples) Epistrophe is a figure of speech in which one or more words repeat at the end of successive phrases, clauses,... (read more)

Epizeuxis is a figure of speech in which a word or phrase is repeated in immediate succession, with no intervening words. In the play Hamlet, when Hamlet responds to a question about what he's reading... (read full epizeuxis explanation with examples) Epizeuxis is a figure of speech in which a word or phrase is repeated in immediate succession, with no intervening... (read more)

Ethos, along with logos and pathos, is one of the three "modes of persuasion" in rhetoric (the art of effective speaking or writing). Ethos is an argument that appeals to the audience by emphasizing the... (read full ethos explanation with examples) Ethos, along with logos and pathos, is one of the three "modes of persuasion" in rhetoric (the art of effective... (read more)

Euphony is the combining of words that sound pleasant together or are easy to pronounce, usually because they contain lots of consonants with soft or muffled sounds (like L, M, N, and R) instead of consonants with harsh, percussive sounds (like... (read full euphony explanation with examples) Euphony is the combining of words that sound pleasant together or are easy to pronounce, usually because they contain lots of consonants with soft... (read more)

Exposition is the description or explanation of background information within a work of literature. Exposition can cover characters and their relationship to one another, the setting or time and place of events, as well as... (read full exposition explanation with examples) Exposition is the description or explanation of background information within a work of literature. Exposition can cover characters and their... (read more)

An extended metaphor is a metaphor that unfolds across multiple lines or even paragraphs of a text, making use of multiple interrelated metaphors within an overarching one. So while "life is a highway" is a... (read full extended metaphor explanation with examples) An extended metaphor is a metaphor that unfolds across multiple lines or even paragraphs of a text, making use of... (read more)

An external conflict is a problem, antagonism, or struggle that takes place between a character and an outside force. External conflict drives the action of a plot forward. (read full external conflict explanation with examples) An external conflict is a problem, antagonism, or struggle that takes place between a character and an outside force. External conflict... (read more)

The falling action of a story is the section of the plot following the climax, in which the tension stemming from the story's central conflict decreases and the story moves toward its conclusion. For instance, the traditional "good... (read full falling action explanation with examples) The falling action of a story is the section of the plot following the climax, in which the tension stemming from... (read more)

Figurative language is language that contains or uses figures of speech. When people use the term "figurative language," however, they often do so in a slightly narrower way. In this narrower definition, figurative language refers... (read full figurative language explanation with examples) Figurative language is language that contains or uses figures of speech. When people use the term "figurative language," however, they... (read more)

A figure of speech is a literary device in which language is used in an unusual—or "figured"—way in order to produce a stylistic effect. Figures of speech can be broken into two main groups: figures... (read full figure of speech explanation with examples) A figure of speech is a literary device in which language is used in an unusual—or "figured"—way in order to... (read more)

A character is said to be "flat" if it is one-dimensional or lacking in complexity. Typically, flat characters can be easily and accurately described using a single word (like "bully") or one short sentence (like "A naive... (read full flat character explanation with examples) A character is said to be "flat" if it is one-dimensional or lacking in complexity. Typically, flat characters can be easily... (read more)

Foreshadowing is a literary device in which authors hint at plot developments that don't actually occur until later in the story. Foreshadowing can be achieved directly or indirectly, by making explicit statements or leaving subtle... (read full foreshadowing explanation with examples) Foreshadowing is a literary device in which authors hint at plot developments that don't actually occur until later in the... (read more)

Formal verse is the name given to rhymed poetry that uses a strict meter (a regular pattern of stressed and unstressed syllables). This two-line poem by Emily Dickinson is formal verse because it rhymes and... (read full formal verse explanation with examples) Formal verse is the name given to rhymed poetry that uses a strict meter (a regular pattern of stressed and... (read more)

Free verse is the name given to poetry that doesn’t use any strict meter or rhyme scheme. Because it has no set meter, poems written in free verse can have lines of any length, from... (read full free verse explanation with examples) Free verse is the name given to poetry that doesn’t use any strict meter or rhyme scheme. Because it has... (read more)

Hamartia is a literary term that refers to a tragic flaw or error that leads to a character's downfall. In the novel Frankenstein, Victor Frankenstein's arrogant conviction that he can usurp the roles of God... (read full hamartia explanation with examples) Hamartia is a literary term that refers to a tragic flaw or error that leads to a character's downfall. In... (read more)

Hubris refers to excessive pride or overconfidence, which drives a person to overstep limits in a way that leads to their downfall. In Greek mythology, the legend of Icarus involves an iconic case of hubris:... (read full hubris explanation with examples) Hubris refers to excessive pride or overconfidence, which drives a person to overstep limits in a way that leads to... (read more)

Hyperbole is a figure of speech in which a writer or speaker exaggerates for the sake of emphasis. Hyperbolic statements are usually quite obvious exaggerations intended to emphasize a point, rather than be taken literally.... (read full hyperbole explanation with examples) Hyperbole is a figure of speech in which a writer or speaker exaggerates for the sake of emphasis. Hyperbolic statements... (read more)

An iamb is a two-syllable metrical pattern in poetry in which one unstressed syllable is followed by a stressed syllable. The word "define" is an iamb, with the unstressed syllable of "de" followed by the... (read full iamb explanation with examples) An iamb is a two-syllable metrical pattern in poetry in which one unstressed syllable is followed by a stressed syllable.... (read more)

An idiom is a phrase that conveys a figurative meaning that is difficult or impossible to understand based solely on a literal interpretation of the words in the phrase. For example, saying that something is... (read full idiom explanation with examples) An idiom is a phrase that conveys a figurative meaning that is difficult or impossible to understand based solely on... (read more)

Imagery, in any sort of writing, refers to descriptive language that engages the human senses. For instance, the following lines from Robert Frost's poem "After Apple-Picking" contain imagery that engages the senses of touch, movement,... (read full imagery explanation with examples) Imagery, in any sort of writing, refers to descriptive language that engages the human senses. For instance, the following lines... (read more)

Internal rhyme is rhyme that occurs in the middle of lines of poetry, instead of at the ends of lines. A single line of poetry can contain internal rhyme (with multiple words in the same... (read full internal rhyme explanation with examples) Internal rhyme is rhyme that occurs in the middle of lines of poetry, instead of at the ends of lines.... (read more)

Irony is a literary device or event in which how things seem to be is in fact very different from how they actually are. If this seems like a loose definition, don't worry—it is. Irony is a... (read full irony explanation with examples) Irony is a literary device or event in which how things seem to be is in fact very different from how... (read more)

Juxtaposition occurs when an author places two things side by side as a way of highlighting their differences. Ideas, images, characters, and actions are all things that can be juxtaposed with one another. For example,... (read full juxtaposition explanation with examples) Juxtaposition occurs when an author places two things side by side as a way of highlighting their differences. Ideas, images,... (read more)

A kenning is a figure of speech in which two words are combined in order to form a poetic expression that refers to a person or a thing. For example, "whale-road" is a kenning for... (read full kenning explanation with examples) A kenning is a figure of speech in which two words are combined in order to form a poetic expression... (read more)

A line break is the termination of one line of poetry, and the beginning of a new line. (read full line break explanation with examples) A line break is the termination of one line of poetry, and the beginning of a new line. (read more)

Litotes is a figure of speech and a form of understatement in which a sentiment is expressed ironically by negating its contrary. For example, saying "It's not the best weather today" during a hurricane would... (read full litotes explanation with examples) Litotes is a figure of speech and a form of understatement in which a sentiment is expressed ironically by negating... (read more)

Logos, along with ethos and pathos, is one of the three "modes of persuasion" in rhetoric (the art of effective speaking or writing). Logos is an argument that appeals to an audience's sense of logic... (read full logos explanation with examples) Logos, along with ethos and pathos, is one of the three "modes of persuasion" in rhetoric (the art of effective... (read more)

A metaphor is a figure of speech that compares two different things by saying that one thing is the other. The comparison in a metaphor can be stated explicitly, as in the sentence "Love is... (read full metaphor explanation with examples) A metaphor is a figure of speech that compares two different things by saying that one thing is the other.... (read more)

Meter is a regular pattern of stressed and unstressed syllables that defines the rhythm of some poetry. These stress patterns are defined in groupings, called feet, of two or three syllables. A pattern of unstressed-stressed,... (read full meter explanation with examples) Meter is a regular pattern of stressed and unstressed syllables that defines the rhythm of some poetry. These stress patterns... (read more)

Metonymy is a type of figurative language in which an object or concept is referred to not by its own name, but instead by the name of something closely associated with it. For example, in... (read full metonymy explanation with examples) Metonymy is a type of figurative language in which an object or concept is referred to not by its own... (read more)

The mood of a piece of writing is its general atmosphere or emotional complexion—in short, the array of feelings the work evokes in the reader. Every aspect of a piece of writing can influence its mood, from the... (read full mood explanation with examples) The mood of a piece of writing is its general atmosphere or emotional complexion—in short, the array of feelings the work evokes... (read more)

A motif is an element or idea that recurs throughout a work of literature. Motifs, which are often collections of related symbols, help develop the central themes of a book or play. For example, one... (read full motif explanation with examples) A motif is an element or idea that recurs throughout a work of literature. Motifs, which are often collections of... (read more)

A narrative is an account of connected events. Two writers describing the same set of events might craft very different narratives, depending on how they use different narrative elements, such as tone or point of view. For... (read full narrative explanation with examples) A narrative is an account of connected events. Two writers describing the same set of events might craft very different narratives,... (read more)

Onomatopoeia is a figure of speech in which words evoke the actual sound of the thing they refer to or describe. The “boom” of a firework exploding, the “tick tock” of a clock, and the... (read full onomatopoeia explanation with examples) Onomatopoeia is a figure of speech in which words evoke the actual sound of the thing they refer to or... (read more)

An oxymoron is a figure of speech in which two contradictory terms or ideas are intentionally paired in order to make a point—particularly to reveal a deeper or hidden truth. The most recognizable oxymorons are... (read full oxymoron explanation with examples) An oxymoron is a figure of speech in which two contradictory terms or ideas are intentionally paired in order to... (read more)

A paradox is a figure of speech that seems to contradict itself, but which, upon further examination, contains some kernel of truth or reason. Oscar Wilde's famous declaration that "Life is much too important to be... (read full paradox explanation with examples) A paradox is a figure of speech that seems to contradict itself, but which, upon further examination, contains some kernel... (read more)

Parallelism is a figure of speech in which two or more elements of a sentence (or series of sentences) have the same grammatical structure. These "parallel" elements can be used to intensify the rhythm of... (read full parallelism explanation with examples) Parallelism is a figure of speech in which two or more elements of a sentence (or series of sentences) have... (read more)

Parataxis is a figure of speech in which words, phrases, clauses, or sentences are set next to each other so that each element is equally important. Parataxis usually involves simple sentences or phrases whose relationships... (read full parataxis explanation with examples) Parataxis is a figure of speech in which words, phrases, clauses, or sentences are set next to each other so... (read more)

A parody is a work that mimics the style of another work, artist, or genre in an exaggerated way, usually for comic effect. Parodies can take many forms, including fiction, poetry, film, visual art, and... (read full parody explanation with examples) A parody is a work that mimics the style of another work, artist, or genre in an exaggerated way, usually... (read more)

Pathetic fallacy occurs when a writer attributes human emotions to things that aren't human, such as objects, weather, or animals. It is often used to make the environment reflect the inner experience of a narrator... (read full pathetic fallacy explanation with examples) Pathetic fallacy occurs when a writer attributes human emotions to things that aren't human, such as objects, weather, or animals.... (read more)

Pathos, along with logos and ethos, is one of the three "modes of persuasion" in rhetoric (the art of effective speaking or writing). Pathos is an argument that appeals to an audience's emotions. When a... (read full pathos explanation with examples) Pathos, along with logos and ethos, is one of the three "modes of persuasion" in rhetoric (the art of effective... (read more)

Personification is a type of figurative language in which non-human things are described as having human attributes, as in the sentence, "The rain poured down on the wedding guests, indifferent to their plans." Describing the... (read full personification explanation with examples) Personification is a type of figurative language in which non-human things are described as having human attributes, as in the... (read more)

Plot is the sequence of interconnected events within the story of a play, novel, film, epic, or other narrative literary work. More than simply an account of what happened, plot reveals the cause-and-effect relationships between... (read full plot explanation with examples) Plot is the sequence of interconnected events within the story of a play, novel, film, epic, or other narrative literary... (read more)

Point of view refers to the perspective that the narrator holds in relation to the events of the story. The three primary points of view are first person, in which the narrator tells a story from... (read full point of view explanation with examples) Point of view refers to the perspective that the narrator holds in relation to the events of the story. The... (read more)

Polyptoton is a figure of speech that involves the repetition of words derived from the same root (such as "blood" and "bleed"). For instance, the question, "Who shall watch the watchmen?" is an example of... (read full polyptoton explanation with examples) Polyptoton is a figure of speech that involves the repetition of words derived from the same root (such as "blood"... (read more)

Polysyndeton is a figure of speech in which coordinating conjunctions—words such as "and," "or," and "but" that join other words or clauses in a sentence into relationships of equal importance—are used several times in close... (read full polysyndeton explanation with examples) Polysyndeton is a figure of speech in which coordinating conjunctions—words such as "and," "or," and "but" that join other words... (read more)

The protagonist of a story is its main character, who has the sympathy and support of the audience. This character tends to be involved in or affected by most of the choices or conflicts that... (read full protagonist explanation with examples) The protagonist of a story is its main character, who has the sympathy and support of the audience. This character... (read more)

A pun is a figure of speech that plays with words that have multiple meanings, or that plays with words that sound similar but mean different things. The comic novelist Douglas Adams uses both types... (read full pun explanation with examples) A pun is a figure of speech that plays with words that have multiple meanings, or that plays with words... (read more)

A quatrain is a four-line stanza of poetry. It can be a single four-line stanza, meaning that it is a stand-alone poem of four lines, or it can be a four-line stanza that makes up... (read full quatrain explanation with examples) A quatrain is a four-line stanza of poetry. It can be a single four-line stanza, meaning that it is a... (read more)

A red herring is a piece of information in a story that distracts readers from an important truth, or leads them to mistakenly expect a particular outcome. Most often, the term red herring is used to refer... (read full red herring explanation with examples) A red herring is a piece of information in a story that distracts readers from an important truth, or leads them... (read more)

In a poem or song, a refrain is a line or group of lines that regularly repeat, usually at the end of a stanza in a poem or at the end of a verse in... (read full refrain explanation with examples) In a poem or song, a refrain is a line or group of lines that regularly repeat, usually at the... (read more)

Repetition is a literary device in which a word or phrase is repeated two or more times. Repetition occurs in so many different forms that it is usually not thought of as a single figure... (read full repetition explanation with examples) Repetition is a literary device in which a word or phrase is repeated two or more times. Repetition occurs in... (read more)

A rhetorical question is a figure of speech in which a question is asked for a reason other than to get an answer—most commonly, it's asked to make a persuasive point. For example, if a... (read full rhetorical question explanation with examples) A rhetorical question is a figure of speech in which a question is asked for a reason other than to... (read more)

A rhyme is a repetition of similar sounds in two or more words. Rhyming is particularly common in many types of poetry, especially at the ends of lines, and is a requirement in formal verse.... (read full rhyme explanation with examples) A rhyme is a repetition of similar sounds in two or more words. Rhyming is particularly common in many types... (read more)

A rhyme scheme is the pattern according to which end rhymes (rhymes located at the end of lines) are repeated in works poetry. Rhyme schemes are described using letters of the alphabet, such that all... (read full rhyme scheme explanation with examples) A rhyme scheme is the pattern according to which end rhymes (rhymes located at the end of lines) are repeated... (read more)

The rising action of a story is the section of the plot leading up to the climax, in which the tension stemming from the story's central conflict grows through successive plot developments. For example, in the story of "Little... (read full rising action explanation with examples) The rising action of a story is the section of the plot leading up to the climax, in which the tension stemming... (read more)

A character is said to be "round" if they are lifelike or complex. Round characters typically have fully fleshed-out and multi-faceted personalities, backgrounds, desires, and motivations. Jay Gatsby in F. Scott Fitzgerald's The Great Gatsby... (read full round character explanation with examples) A character is said to be "round" if they are lifelike or complex. Round characters typically have fully fleshed-out and... (read more)

Satire is the use of humor, irony, sarcasm, or ridicule to criticize something or someone. Public figures, such as politicians, are often the subject of satire, but satirists can take aim at other targets as... (read full satire explanation with examples) Satire is the use of humor, irony, sarcasm, or ridicule to criticize something or someone. Public figures, such as politicians,... (read more)

A sestet is a six-line stanza of poetry. It can be any six-line stanza—one that is, itself, a whole poem, or one that makes up a part of a longer poem. Most commonly, the term... (read full sestet explanation with examples) A sestet is a six-line stanza of poetry. It can be any six-line stanza—one that is, itself, a whole poem,... (read more)

Setting is where and when a story or scene takes place. The where can be a real place like the city of New York, or it can be an imagined location, like Middle Earth in... (read full setting explanation with examples) Setting is where and when a story or scene takes place. The where can be a real place like the... (read more)

Sibilance is a figure of speech in which a hissing sound is created within a group of words through the repetition of "s" sounds. An example of sibilance is: "Sadly, Sam sold seven venomous serpents to Sally and... (read full sibilance explanation with examples) Sibilance is a figure of speech in which a hissing sound is created within a group of words through the repetition... (read more)

A simile is a figure of speech that directly compares two unlike things. To make the comparison, similes most often use the connecting words "like" or "as," but can also use other words that indicate... (read full simile explanation with examples) A simile is a figure of speech that directly compares two unlike things. To make the comparison, similes most often... (read more)

Traditionally, slant rhyme referred to a type of rhyme in which two words located at the end of a line of poetry themselves end in similar—but not identical—consonant sounds. For instance, the words "pact" and... (read full slant rhyme explanation with examples) Traditionally, slant rhyme referred to a type of rhyme in which two words located at the end of a line... (read more)

A soliloquy is a literary device, most often found in dramas, in which a character speaks to him or herself, relating his or her innermost thoughts and feelings as if thinking aloud. In some cases,... (read full soliloquy explanation with examples) A soliloquy is a literary device, most often found in dramas, in which a character speaks to him or herself,... (read more)

A sonnet is a type of fourteen-line poem. Traditionally, the fourteen lines of a sonnet consist of an octave (or two quatrains making up a stanza of 8 lines) and a sestet (a stanza of... (read full sonnet explanation with examples) A sonnet is a type of fourteen-line poem. Traditionally, the fourteen lines of a sonnet consist of an octave (or... (read more)

A spondee is a two-syllable metrical pattern in poetry in which both syllables are stressed. The word "downtown" is a spondee, with the stressed syllable of "down" followed by another stressed syllable, “town”: Down-town. (read full spondee explanation with examples) A spondee is a two-syllable metrical pattern in poetry in which both syllables are stressed. The word "downtown" is a... (read more)

A stanza is a group of lines form a smaller unit within a poem. A single stanza is usually set apart from other lines or stanza within a poem by a double line break or... (read full stanza explanation with examples) A stanza is a group of lines form a smaller unit within a poem. A single stanza is usually set... (read more)

A character is said to be "static" if they do not undergo any substantial internal changes as a result of the story's major plot developments. Antagonists are often static characters, but any character in a... (read full static character explanation with examples) A character is said to be "static" if they do not undergo any substantial internal changes as a result of... (read more)

Stream of consciousness is a style or technique of writing that tries to capture the natural flow of a character's extended thought process, often by incorporating sensory impressions, incomplete ideas, unusual syntax, and rough grammar. (read full stream of consciousness explanation with examples) Stream of consciousness is a style or technique of writing that tries to capture the natural flow of a character's... (read more)

A syllogism is a three-part logical argument, based on deductive reasoning, in which two premises are combined to arrive at a conclusion. So long as the premises of the syllogism are true and the syllogism... (read full syllogism explanation with examples) A syllogism is a three-part logical argument, based on deductive reasoning, in which two premises are combined to arrive at... (read more)

Symbolism is a literary device in which a writer uses one thing—usually a physical object or phenomenon—to represent something more abstract. A strong symbol usually shares a set of key characteristics with whatever it is... (read full symbolism explanation with examples) Symbolism is a literary device in which a writer uses one thing—usually a physical object or phenomenon—to represent something more... (read more)

Synecdoche is a figure of speech in which, most often, a part of something is used to refer to its whole. For example, "The captain commands one hundred sails" is a synecdoche that uses "sails"... (read full synecdoche explanation with examples) Synecdoche is a figure of speech in which, most often, a part of something is used to refer to its... (read more)

A theme is a universal idea, lesson, or message explored throughout a work of literature. One key characteristic of literary themes is their universality, which is to say that themes are ideas that not only... (read full theme explanation with examples) A theme is a universal idea, lesson, or message explored throughout a work of literature. One key characteristic of literary... (read more)

The tone of a piece of writing is its general character or attitude, which might be cheerful or depressive, sarcastic or sincere, comical or mournful, praising or critical, and so on. For instance, an editorial in a newspaper... (read full tone explanation with examples) The tone of a piece of writing is its general character or attitude, which might be cheerful or depressive, sarcastic or sincere, comical... (read more)

A tragic hero is a type of character in a tragedy, and is usually the protagonist. Tragic heroes typically have heroic traits that earn them the sympathy of the audience, but also have flaws or... (read full tragic hero explanation with examples) A tragic hero is a type of character in a tragedy, and is usually the protagonist. Tragic heroes typically have... (read more)

A trochee is a two-syllable metrical pattern in poetry in which a stressed syllable is followed by an unstressed syllable. The word "poet" is a trochee, with the stressed syllable of "po" followed by the... (read full trochee explanation with examples) A trochee is a two-syllable metrical pattern in poetry in which a stressed syllable is followed by an unstressed syllable.... (read more)

Understatement is a figure of speech in which something is expressed less strongly than would be expected, or in which something is presented as being smaller, worse, or lesser than it really is. Typically, understatement is... (read full understatement explanation with examples) Understatement is a figure of speech in which something is expressed less strongly than would be expected, or in which something... (read more)

Verbal irony occurs when the literal meaning of what someone says is different from—and often opposite to—what they actually mean. When there's a hurricane raging outside and someone remarks "what lovely weather we're having," this... (read full verbal irony explanation with examples) Verbal irony occurs when the literal meaning of what someone says is different from—and often opposite to—what they actually mean.... (read more)

A villanelle is a poem of nineteen lines, and which follows a strict form that consists of five tercets (three-line stanzas) followed by one quatrain (four-line stanza). Villanelles use a specific rhyme scheme of ABA... (read full villanelle explanation with examples) A villanelle is a poem of nineteen lines, and which follows a strict form that consists of five tercets (three-line... (read more)

A zeugma is a figure of speech in which one "governing" word or phrase modifies two distinct parts of a sentence. Often, the governing word will mean something different when applied to each part, as... (read full zeugma explanation with examples) A zeugma is a figure of speech in which one "governing" word or phrase modifies two distinct parts of a... (read more)

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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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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 .

Looking for help navigating the road to college as a high school student? Download our free guide for 9th graders , and our  free guide for 10th graders . Our guides go in-depth about subjects ranging from academics ,  choosing courses ,  standardized tests ,  extracurricular activities ,  and much more !

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Literary Devices ‒ How To Use Them In Your College Essay

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One of the best ways to make your college essay and other academic writing assignments interesting is by using literary devices. They serve as essential tools that authors employ to enrich their narratives, engage readers, and convey complex thoughts and emotions in an accessible way. This article will explore what literary devices are, why they’re important, and the most common literary devices you can use to make your academic essays more interesting.

Inhaltsverzeichnis

• 1 Literary Devices ‒ In a Nutshell
• 2 Definition: Literary devices
• 3 Literary devices woven into the essay structure
• 4 Literary devices for storytelling
• 5 Literary devices: Imagery
• 6 Literary devices: Tone
• 7 Sentence-integrated literary devices

Literary Devices ‒ In a Nutshell

• Literary devices are tools used by writers to elevate their writing skills.
• Literary devices allow writers to communicate with their audiences from a unique angle.
• Literary devices can upgrade your essay writing skills and get you good grades.

Definition: Literary devices

Literary devices are tools or techniques writers use to make their narrations more captivating and hint at bigger meanings than what’s on paper. While some literary devices are only used on a sentence level, others transform the entire story. Most skilled writers use several literary devices to create a more powerful and memorable story.

Some common types of literary devices include:

• Figurative language – metaphors and similes create images and comparisons for better understanding.
• Sound devices – alliteration and onomatopoeia contribute to the rhythm, mood, and emphasis of the text.
• Narrative devices – foreshadowing and flashbacks affect the structure of the story and how it’s told.
• Stylistic devices – repetition and irony shape the overall voice, tone, and mood of the work.

In sum, literary devices enhance a piece of writing by making it more effective, memorable, and engaging in conveying its ideas and themes.

Literary devices woven into the essay structure

The following are some of the best literary devices for essay writing and how to use them:

This refers to using an object, person, place, or subject to represent a broader concept or idea.

• A dove can represent peace
• A sheep can mean conformity
• A black cat can represent bad luck.

Extended metaphor

A metaphor is a figure of speech that compares two, unlike things without using the words “like” or “as.”

On the other hand, an extended metaphor is a metaphor that continues the comparison across multiple sentences or paragraphs in the same piece of writing.

• Simple metaphor: “The truth is thorny.”

This metaphor compares the truth to something painful.

• Extended metaphor: “The truth is thorny, but you have to embrace it even if it hurts. Sometimes it leaves a small puncture, sometimes a huge wound, but it eventually heals.”

With this extended metaphor, you’ve spread the comparison of truth to a thorn across two sentences.

• Choose the third metaphor you think of
• Use a comprehensive comparison
• Look for extended metaphors
• Always keep it subtle
• Don’t overuse extended metaphors
• Don’t use clichés
• Don’t use distracting metaphors
• Don’t use weakening metaphors

Literary devices for storytelling

The following are some literary devices that work best with storytelling:

Into the action

“In medias res” is a Latin word that means “in the midst of things.” This writing style places the reader in the middle of the action or scene without providing any contextual information.

Beginning your story in the middle of the action helps immerse the reader into your story from the start. It makes them ask a lot of questions regarding the characters in the opening scene and what’s the reason behind the events that are unfolding.

The opening line of One Hundred Years of Solitude by Gabriel Garcia Marquez reads:

• “Many years later, as he faced the firing squad, Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice.”

Writers often use dialogue to show communication between two characters in the story.

You can use dialogue in your college essay to move your story forward, show different points of view, or engage the reader with your story at an emotional level.

• Algernon : I’m afraid I’m not that. That’s why I want you to reform me. You might make that your mission if you don’t mind, cousin Cecily.
• Cecily : I’m afraid I’ve no time this afternoon.
• Algernon : Well, would you mind me reforming myself this afternoon?
• Cecily : It is rather Quixotic of you. But I think you should try.

A flashback is a sudden interruption in the story’s narration that brings the reader to an earlier event to provide context or backstory of the present event.

You can use flashbacks in your essay to arm the reader with some important information about a character’s backstory that they might not have known.

The realtor handed me the keys to my new three-bedroom house. I was overjoyed to become a homeowner before my 30th birthday. It’s hard to imagine that I was living with my brother a year ago because I couldn’t afford to pay rent for my apartment.

Using a famous quote in your college essay provides the reader with more context of the topic you’re writing about and helps strengthen your argument.

As a parent, you want to raise well-behaved children who do well in school and are never in trouble. However, you should know that what you do or say in front of your children plays a major role in shaping their character. Pierre Corneille once said, “Remember: sooner or later, your son will follow your example and not your advice.”

Literary devices: Imagery

Writers use imagery to engage the human senses or create a picture in the reader’s mind. The following are some of the literary devices used to create imagery:

Personification

This is a writing technique used to give human characteristics to non-humans. When used in essays, personification allows the reader to relate easily to the object the writer is talking about.

Similes compare two objects using the words “like” or “as.” Using similes in your college essay can help make it more interesting and descriptive.

As brave as a lion.

Five senses

This writing technique describes a particular object’s taste, smell, touch, sight, and sound. Using the five senses in your essay helps immerse the reader in your story by creating vivid images in their mind.

She wanted a taste of the sweet hot coffee.

Literary devices: Tone

The tone is the mood or atmosphere the writer’s words paint to the reader. The following are the literary devices used to portray the writer’s tone:

This is using exaggeration to add more impact to a certain statement.

I have a million things to do when I wake up.

Colloquialisms

This refers to using informal phrases in a piece of writing.

Y’all ain’t giving me time to explain.

Sentence-integrated literary devices

The following are the most commonly used sentence-integrated literary devices:

What are literary devices used for?

Literary devices are used to make pieces of writings more interesting to read.

How many literary devices can I use in my essay?

You can use as many literary devices as you want, as long as they make sense and add something to the reader’s experience.

What forms of writing can you incorporate literary devices?

There are no restrictions when it comes to using literary devices.

You can use literary devices with all forms of formal and informal writing, including college essays, book reports, research papers, emails, and even text messages.

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Literary Devices

Literary devices, terms, and elements, definition of essay.

An essay is a short piece writing, either formal or informal, which expresses the author’s argument about a particular subject. A formal essay has a serious purpose and highly structured organization, while an informal essay may contain humor, personal recollections and anecdotes, and any sort of organization or form which the author wants. Note that while a formal essay has a more detached tone, it can also represent the author’s personal opinions and be written from the author’s point of view. Essays are shorter than a thesis or dissertation, and thus deal with the matter at hand in a limited way. Essays can deal with many different themes, such as analysis of a text, political opinions, scientific ideas, abstract concepts, fragments of autobiography, and so on.

The word essay comes from the French word essayer , which means “to try” or “to attempt.” A sixteenth-century Frenchman named Michel de Montaigne was the first to create the modern-day definition of essay when he called his writing exercises essays, meaning that he was simply “trying” to get his thoughts on paper.

Common Examples of Essay

Essays are a mainstay of many educational systems around the world. Most essays include some form of analysis and argument, and thus develop a student’s critical thinking skills. Essays require a student to understand what he or she has read or learned well enough to write about it, and thus they are a good tool for ensuring that students have internalized the material. Tests such as the SATs and GREs include a very important essay section. Essays also can be important for admission to university programs and even to be hired for certain jobs.

There are many popular magazines which feature intellectual essays as a core part of their offerings, such as The New Yorker, The Atlantic, and Harper’s Magazine .

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.

(“Self-Reliance” by Ralph Waldo Emerson)

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.

(“The Death of the Moth” by Virginia Woolf)

Virginia Woolf’s essay “The Death of the Moth” describes the simplest of experiences—her watching a moth die. And yet, due to her great descriptive powers, Woolf makes the experience seem nontrivial.

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.

(“Shooting an Elephant” by George Orwell)

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)

David Foster Wallace wrote many famous essays as well as novels; he often looks at modern life with a heightened attention to detail and different perspectives. In the essay “Ticket to the Fair,” he visits a fair and describes what he sees and feels, including the excerpt above where he considers the different way he and the farmers at the fair feel about animals.

Test Your Knowledge of Essay

1. Which of the following statements is the best essay definition? A. A research project of many tens of thousands of words concerning a particular argument. B. A short piece of writing that expresses the author’s opinion or perspective on a subject. C. A strict and highly organized piece of writing that doesn’t contain the author’s own opinion. [spoiler title=”Answer to Question #1″] Answer: B is the correct answer. A is too long for an essay and C can describe some, but not all, essay examples.[/spoiler]

2. Which of the following is not likely to be featured in an example of essay? A. A political opinion B. An anecdote C. A fable [spoiler title=”Answer to Question #2″] Answer: C is the correct answer.[/spoiler]

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]

Choose Your Test

Sat / act prep online guides and tips, the 20 most useful rhetorical devices.

General Education

Rhetoric is the art of effective communication; if you communicate with others at all, rhetorical devices are your friends!

Rhetorical devices help you make points more effectively, and help people understand you better. In this article, I'll be covering some important rhetorical devices so you can improve your own writing! 

What Are Rhetorical Devices?

A lot of things that you would think of as just regular everyday modes of communicating are actually rhetorical devices That’s because ‘rhetorical devices’ is more or less a fancy way of saying ‘communication tools.’

Most people don’t plan out their use of rhetorical devices in communication, both because nobody thinks, “now would be a good time to use synecdoche in this conversation with my grocery clerk,” and because we use them so frequently that they don’t really register as “rhetorical devices.”

How often have you said something like, “when pigs fly!” Of those times, how often have you thought, “I’m using a rhetorical device!” That’s how ubiquitous they are!

However, being aware of what they are and how to use them can strengthen your communication , whether you do a lot of big speeches, write persuasive papers, or just argue with your friends about a TV show you all like.

Rhetorical devices can function at all levels: words, sentences, paragraphs, and beyond. Some rhetorical devices are just a single word, such as onomatopoeia. Others are phrases, such as metaphor, while still others can be sentence-length (such as a thesis), paragraph-length (hypophora), or go throughout the entire piece, such as a standard five-paragraph essay.

Many of these (such as the thesis or five-paragraph essay) are so standard and familiar to us that we may not think of them as devices. But because they help us shape and deliver our arguments effectively, they're important to know and understand.

The Most Useful Rhetorical Devices List

It would be impossible to list every single rhetorical device in one blog post. Instead, I've collected a mixture of extremely common devices you may have heard before and some more obscure ones that might be valuable to learn.

Amplification

Amplification is a little similar to parallelism: by using repetition, a writer expands on an original statement and increases its intensity .

Take this example from Roald Dahl’s The Twits :

“If a person has ugly thoughts, it begins to show on the face. And when that person has ugly thoughts every day, every week, every year, the face gets uglier and uglier until you can hardly bear to look at it. A person who has good thoughts cannot ever be ugly. You can have a wonky nose and a crooked mouth and a double chin and stick-out teeth, but if you have good thoughts it will shine out of your face like sunbeams and you will always look lovely.”

In theory, we could have gotten the point with the first sentence. We don’t need to know that the more you think ugly thoughts, the uglier you become, nor that if you think good thoughts you won’t be ugly—all that can be contained within the first sentence. But Dahl’s expansion makes the point clearer, driving home the idea that ugly thoughts have consequences.

Amplification takes a single idea and blows it up bigger, giving the reader additional context and information to better understand your point. You don’t just have to restate the point— use amplification to expand and dive deeper into your argument to show readers and listeners how important it is!

Anacoluthon

Anacoluthon is a fancy word for a disruption in the expected grammar or syntax of a sentence. That doesn’t mean that you misspoke—using anacoluthon means that you’ve deliberately subverted your reader’s expectations to make a point.

For example, take this passage from King Lear :

“I will have such revenges on you both, That all the world shall—I will do such things, What they are, yet I know not…”

In this passage, King Lear interrupts himself in his description of his revenge. This has multiple effects on the reader: they wonder what all the world shall do once he has his revenge (cry? scream? fear him?), and they understand that King Lear has interrupted himself to regain his composure. This tells us something about him—that he’s seized by passion in this moment, but also that he regains control. We might have gathered one of those things without anacoluthon, but the use of this rhetorical device shows us both very efficiently.

Anadiplosis

Anadiplosis refers to purposeful repetition at the end of one sentence or clause and at the beginning of the next sentence or clause. In practice, that looks something like a familiar phrase from Yoda:

“Fear leads to anger. Anger leads to hate. Hate leads to suffering.”

Note the way that the ending word of each sentence is repeated in the following sentence. That’s anadiplosis!

This rhetorical device draws a clear line of thinking for your reader or listener—repetition makes them pay closer attention and follow the way the idea evolves. In this case, we trace the way that fear leads to suffering through Yoda’s purposeful repetition.

Antanagoge is the balancing of a negative with a positive. For example, the common phrase, “When life gives you lemons, make lemonade,” is antanagoge—it suggests a negative (lots of lemons) and follows that up with a positive (make lemonade).

When writing persuasively, this can be a great way to respond to potential detractors of your argument. Suppose you want to convince your neighborhood to add a community garden, but you think that people might focus on the amount of work required. When framing your argument, you could say something like, “Yes, it will be a lot of work to maintain, but working together will encourage us all to get to know one another as well as providing us with fresh fruits, vegetables, and flowers.”

This is a little like procatalepsis, in that you anticipate a problem and respond to it. However, antanagoge is specifically balancing a negative with a positive, just as I did in the example of a garden needing a lot of work, but that work is what ultimately makes the project worth it.

Apophasis is a form of irony relating to denying something while still saying it. You’ll often see this paired with phrases like, “I’m not saying…” or “It goes without saying…”, both of which are followed up with saying exactly what the speaker said they weren’t going to say.

Take this speech from Iron Man 2 :

"I'm not saying I'm responsible for this country's longest run of uninterrupted peace in 35 years! I'm not saying that from the ashes of captivity, never has a phoenix metaphor been more personified! I'm not saying Uncle Sam can kick back on a lawn chair, sipping on an iced tea, because I haven't come across anyone man enough to go toe to toe with me on my best day! It's not about me."

Tony Stark isn’t saying that he’s responsible for all those things… except that’s exactly what he is saying in all of his examples. Though he says it’s not about him, it clearly is—all of his examples relate to how great he is, even as he proclaims that they aren’t.

A scene like this can easily be played for humor, but apophasis can also be a useful (albeit deceptive) rhetorical tool. For example, this argument:

Our neighborhood needs a community garden to foster our relationships with one another. Not only is it great for getting to know each other, but a community garden will also provide us with all kinds of fresh fruit and vegetables. It would be wrong to say that people who disagree aren’t invested in others’ health and wellness, but those who have the neighborhood’s best interests in mind will support a community garden.

That last sentence is all apophasis. Not only did I imply that people who don’t support the community garden are anti-social and uncaring (by outright stating that I wouldn’t say that, but I also implied that they’re also not invested in the neighborhood at all. Stating things like this, by pretending you’re not saying them or saying the opposite, can be very effective.

Assonance and Alliteration

Assonance adds an abundance of attractive accents to all your assertions. That’s assonance—the practice repeating the same vowel sound in multiple words in a phrase or sentence, often at the beginning of a word, to add emphasis or musicality to your work. Alliteration is similar, but uses consonant sounds instead of vowel sounds.

Let’s use Romeo and Juliet as an example again:

“From forth the fatal loins of these two foes; A pair of star-cross’d lovers take their life.”

Here, we have repetition of the sounds ‘f’ and ‘l’ in ‘from forth...fatal...foes,’ and ‘loins...lovers...life.’

Even if you don’t notice the repetition as you’re reading, you can hear the effects in how musical the language sounds. Shakespeare could easily have just written something like, “Two kids from families who hate one another fell in love and died by suicide,” but that’s hardly as evocative as the phrasing he chose.

Both assonance and alliteration give your writing a lyrical sound, but they can do more than that, too. These tools can mimic associated sounds, like using many ‘p’ sounds to sound like rain or something sizzling, or ‘s’ sounds to mimic the sounds of a snake. When you’re writing, think about what alternative meanings you can add by emphasizing certain sounds.

Listen, asterismos is great. Don’t believe me? How did you feel after I began the first sentence with the word ‘listen?’ Even if you didn’t feel more inspired to actually listen, you probably paid a bit more attention because I broke the expected form. That’s what asterismos is—using a word or phrase to draw attention to the thought that comes afterward.

‘Listen’ isn’t the only example of asterismos, either. You can use words like, ‘hey,’ ‘look,’ ‘behold,’ ‘so,’ and so on. They all have the same effect: they tell the reader or listener, “Hey, pay attention—what I’m about to say is important.”

Dysphemism and Euphemism

Euphemism is the substitution of a more pleasant phrase in place of a familiar phrase, and dysphemism is the opposite —an un pleasant phrase substituted in place of something more familiar. These tools are two sides of the same coin. Euphemism takes an unpleasant thing and makes it sound nicer—such as using 'passed away' instead of 'died'—while dysphemism does the opposite, taking something that isn't necessarily bad and making it sound like it is.

We won’t get into the less savory uses of dysphemism, but there are plenty that can leave an impression without being outright offensive. Take ‘snail mail.’ A lot of us call postal mail that without any real malice behind it, but ‘snail’ implies slowness, drawing a comparison between postal mail and faster email. If you’re making a point about how going electronic is faster, better for the environment, and overall more efficient, comparing email to postal mail with the phrase ‘snail mail’ gets the point across quickly and efficiently.

Likewise, if you're writing an obituary, you probably don't want to isolate the audience by being too stark in your details. Using gentler language, like 'passed away' or 'dearly departed' allows you to talk about things that might be painful without being too direct. People will know what you mean, but you won't have to risk hurting anyone by being too direct and final with your language.

You’ve no doubt run into epilogues before, because they’re a common and particularly useful rhetorical device! Epilogues are a conclusion to a story or work that reveals what happens to the characters in the story. This is different from an afterword, which is more likely to describe the process of a book’s creation than to continue and provide closure to a story.

Many books use epilogues to wrap up loose ends, usually taking place in the future to show how characters have changed as a result of their adventures. Both Harry Potter and The Hunger Games series use their epilogues to show the characters as adults and provide some closure to their stories—in Harry Potter , the main characters have gotten married and had children, and are now sending those children to the school where they all met. This tells the reader that the story of the characters we know is over—they’re adults and are settled into their lives—but also demonstrates that the world goes on existing, though it’s been changed forever by the actions of the familiar characters.

Eutrepismus

Eutrepismus is another rhetorical device you’ve probably used before without realizing it. This device separates speech into numbered parts, giving your reader or listener a clear line of thinking to follow.

Eutrepismus is a great rhetorical device—let me tell you why. First, it’s efficient and clear. Second, it gives your writing a great sense of rhythm. Third, it’s easy to follow and each section can be expanded throughout your work.

See how simple it is? You got all my points in an easy, digestible format. Eutrepismus helps you structure your arguments and make them more effective, just as any good rhetorical device should do.

You’ve probably used hypophora before without ever thinking about it. Hypophora refers to a writer or speaker proposing a question and following it up with a clear answer. This is different from a rhetorical question—another rhetorical device—because there is an expected answer, one that the writer or speaker will immediately give to you.

Hypophora serves to ask a question the audience may have (even if they’re not entirely aware of it yet) and provide them with an answer. This answer can be obvious, but it can also be a means of leading the audience toward a particular point.

Take this sample from John F. Kennedy’s speech on going to the moon:

But why, some say, the moon? Why choose this as our goal? And they may well ask why climb the highest mountain? Why, 35 years ago, fly the Atlantic? Why does Rice play Texas? We choose to go to the moon. We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard, because that goal will serve to organize and measure the best of our energies and skills, because that challenge is one that we are willing to accept, one we are unwilling to postpone, and one which we intend to win, and the others, too.

In this speech, Kennedy outright states that he’s asking questions others have asked, and then goes on to answer them. This is Kennedy’s speech, so naturally it’s going to reflect his point of view, but he’s answering the questions and concerns others might have about going to the moon. In doing so, he’s reclaiming an ongoing conversation to make his own point. This is how hypophora can be incredibly effective: you control the answer, leaving less room for argument!

Litotes is a deliberate understatement, often using double negatives, that serves to actually draw attention to the thing being remarked upon. For example, saying something like, “It’s not pretty,” is a less harsh way to say “It’s ugly,” or “It’s bad,” that nonetheless draws attention to it being ugly or bad.

In Frederick Douglass’ Narrative of the Life of Frederick Douglass: an American Slave , he writes:

“Indeed, it is not uncommon for slaves even to fall out and quarrel among themselves about the relative goodness of their masters, each contending for the superior goodness of his own over that of the others.”

Notice the use of “not uncommon.” Douglass, by using a double negative to make readers pay closer attention, points out that some slaves still sought superiority over others by speaking out in favor of their owners.

Litotes draws attention to something by understating it. It’s sort of like telling somebody not to think about elephants—soon, elephants becomes all they can think about. The double negative draws our attention and makes us focus on the topic because it’s an unusual method of phrasing.

Onomatopoeia

Onomatopoeia refers to a sound represented within text as a mimicry of what that sound actually sounds like. Think “bang” or “whizz” or “oomph,” all of which can mean that something made that kind of a sound—”the door banged shut”—but also mimic the sound itself—”the door went bang .”

This rhetorical device can add emphasis or a little bit of spice to your writing. Compare, “The gunshot made a loud sound,” to “The gun went bang .” Which is more evocative?

Parallelism

Parallelism is the practice of using similar grammar structure, sounds, meter, and so on to emphasize a point and add rhythm or balance to a sentence or paragraph.

One of the most famous examples of parallelism in literature is the opening of Charles Dickens’ 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, 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— in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only."

In the beginning, every phrase begins with “It was,” which is itself a parallelism. But there are also pairs of parallelism within the sentence, too; “It was the ___ of times, it was the ___ of times,” and “it was the age of ___, it was the age of ___.”

Parallelism draws your reader deeper into what you’re saying and provides a nice sense of flow, even if you’re talking about complicated ideas. The ‘epoch of incredulity’ is a pretty meaty phrase, but Dickens’ parallelism sets up a series of dichotomies for us; even if we don’t know quite what it means, we can figure it out by comparing it to ‘belief.’

Personification

Personification is a rhetorical device you probably run into a lot without realizing it. It’s a form of metaphor, which means two things are being compared without the words like or as—in this case, a thing that is not human is given human characteristics.

Personification is common in poetry and literature, as it’s a great way to generate fresh and exciting language, even when talking about familiar subjects. Take this passage from Romeo and Juliet , for example:

“When well-appareled April on the heel Of limping winter treads.”

April can’t wear clothes or step on winter, and winter can’t limp. However, the language Shakespeare uses here is quite evocative. He’s able to quickly state that April is beautiful (“well-appareled”) and that winter is coming to an end (“limping winter”). Through personification, we get a strong image for things that could otherwise be extremely boring, such as if Shakespeare had written, “When beautiful April comes right after winter.”

Procatalepsis

Procatalepsis is a rhetorical device that anticipates and notes a potential objection, heading it off with a follow-up argument to strengthen the point. I know what you’re thinking—that sounds really complicated! But bear with me, because it’s actually quite simple.

See how that works? I imagined that a reader might be confused by the terminology in the first sentence, so I noted that potential confusion, anticipating their argument. Then, I addressed that argument to strengthen my point—procatalepsis is easy, which you can see because I just demonstrated it!

Anticipating a rebuttal is a great way to strengthen your own argument. Not only does it show that you’ve really put thought into what you’re saying, but it also leaves less room for disagreement!

Synecdoche is a rhetorical device that uses a part of something to stand in for the whole. That can mean that we use a small piece of something to represent a whole thing (saying ‘let’s grab a slice’ when we in fact mean getting a whole pizza), or using something large to refer to something small. We often do this with sports teams–for example, saying that New England won the Super Bowl when we in fact mean the New England Patriots, not the entirety of New England.

This style of rhetorical device adds an additional dimension to your language, making it more memorable to your reader. Which sounds more interesting? “Let’s get pizza,” or “let’s grab a slice?”

Likewise, consider this quote from Percy Bysshe Shelly’s “Ozymandias”:

“Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them.”

Here, Shelly uses ‘the hand’ to refer to the sculptor. The hand did not sculpt the lifeless things on its own; it was a tool of the sculptor. But by using just the hand, Shelly avoids repeating ‘the sculptor,’ preserves the poem’s rhythm, and narrows our focus. If he had referred to the sculptor again, he’d still be a big important figure; by narrowing to the hand, Shelly is diminishing the idea of the creator, mirroring the poem’s assertion that the creation will outlast it.

Tautology refers to using words or similar phrases to effectively repeat the same idea with different wording. It’s a form of repetition that can make a point stronger, but it can also be the basis of a flawed argument—be careful that your uses of tautology is the former, not the latter!

For example, take this section of “The Bells” by Edgar Allen Poe:

“Keeping time, time, time, In a sort of Runic rhyme… From the bells, bells, bells, bells.”

Poe’s poetry has a great deal of rhythm already, but the use of ‘time, time, time’ sets us up for the way that ‘bells, bells, bells, bells’ also holds that same rhythm. Keeping time refers to maintaining rhythm, and this poem emphasizes that with repetition, much like the repetitive sound of ringing bells.

An example of an unsuccessful tautology would be something like, “Either we should buy a house, or we shouldn’t.” It’s not a successful argument because it doesn’t say anything at all—there’s no attempt to suggest anything, just an acknowledgment that two things, which cannot both happen, could happen.

If you want to use tautology in your writing, be sure that it’s strengthening your point. Why are you using it? What purpose does it serve? Don’t let a desire for rhythm end up robbing you of your point!

That thing your English teachers are always telling you to have in your essays is an important literary device. A thesis, from the Greek word for ‘a proposition,’ is a clear statement of the theory or argument you’re making in an essay. All your evidence should feed back into your thesis; think of your thesis as a signpost for your reader. With that signpost, they can’t miss your point!

Especially in longer academic writing, there can be so many pieces to an argument that it can be hard for readers to keep track of your overarching point. A thesis hammers the point home so that no matter how long or complicated your argument is, the reader will always know what you’re saying.

Tmesis is a rhetorical device that breaks up a word, phrase, or sentence with a second word, usually for emphasis and rhythm . We often do this with expletives, but tmesis doesn’t have to be vulgar to be effective!

Take this example from Romeo and Juliet :

“This is not Romeo, he’s some other where.”

The normal way we’d hear this phrase is “This is not Romeo, he’s somewhere else.” But by inserting the word ‘other’ between ‘some’ and ‘where,’ it not only forces us to pay attention, but also changes the sentence’s rhythm. It gets the meaning across perfectly, and does so in a way that’s far more memorable than if Shakespeare had just said that Romeo was somewhere else.

For a more common usage, we can turn to George Bernard Shaw’s Pygmalion , which often has Eliza Doolittle using phrases like “fan-bloody-tastic” and “abso-blooming-lutely.” The expletives—though mild by modern standards—emphasize Eliza’s social standing and make each word stand out more than if she had simply said them normally.

What’s Next?

Rhetorical devices and literary devices can both be used to enhance your writing and communication. Check out this list of literary devices to learn more !

Ethos, pathos, logos, and kairos are all modes of persuasion—types of rhetorical devices— that can help you be a more convincing writer !

No matter what type of writing you're doing, rhetorical devices can enhance it! To learn more about different writing styles, check out this list !

Melissa Brinks graduated from the University of Washington in 2014 with a Bachelor's in English with a creative writing emphasis. She has spent several years tutoring K-12 students in many subjects, including in SAT prep, to help them prepare for their college education.

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How College Students Can Use Literary Devices to Improve their Essay Writing

Table of contents

“ If you can look into the seeds of time, and say which grain will grow and which will not, speak then to me.” — Macbeth , William Shakespeare

Mind-blowing, isn’t it?

But do you realize what made this sentence so “mind-blowing”? The strategic use of metaphor.

We have always wondered how certain writers manage to leave us in awe and inspired. You might think you can’t achieve it, but with the proper techniques and practice, it isn’t.

While many elements make up powerful writing, one of the techniques is literary devices. What are literary devices, you ask?

They are tools writers use to heighten their narrative and evoke emotions to convey their message. Instead of simply stating things for what they are, literary devices manage to bring writing to life and leave a more substantial impact on readers, especially in the case of creative writing assignments.

How You Can Use Literary Devices to Write an Essay

Being a college student, you are bound to be bombarded with several writing assignments. Whether it’s a narrative essay, book critique, or personal statement, knowing how to inject literary devices into your writing can make a huge difference.

More than getting the grades you want, it’s about embracing the art of storytelling and making efforts to ‘wow’ your instructors.

You can be lazy and churn out the same old essay.

Or you can take the use of literary devices and your writing to the next level.

The choice is yours.

Decided to go with the latter? Good. Here’s everything you need to know about using literary devices to improve your essay-writing skills.

How do Literary Devices Improve College Essay Writing?

Literary devices, if used smartly, can take your writing from ‘meh’ to ‘wow.’ Here’s how they enhance your writing and take it to the next level.

What is this ‘depth,’ you might wonder ? Well, ‘depth’ is what hooks readers and keeps them invested in your writing. It is that ‘oomph’ factor that makes your essay riveting.

When you use literary devices to put your message across, you can make people ponder about the setting you create, the characters you develop, or the situations you describe. Well-placed literary devices have the power to heighten your writing which would have otherwise been flat and dull.

Paint a Picture

You’ve heard of the age-old writing advice, “Show, Don’t Tell”, haven’t you? It encourages writers to write vividly and paint a picture in the minds of readers which is way more powerful than a thousand words.

Using literary devices can help you achieve that because you let readers visualize what you’re trying to say, leaving a more significant impact in their minds.

Want to know more about writing descriptively?

Watch this video by Darin Mount , wherein he throws more light on this subject

Evoke Emotional Response

We can all agree that the best writing connects with the reader and evokes an emotional response. Whether it’s sadness, joy, anger, or disdain - using literary devices to make readers feel what you want them to feel is always a winner.

Make it Interesting

Last but not least, literary devices make the piece more pleasurable to read.

No one likes boring essays. You must constantly innovate and think of new, creative ways to add life to your writing. Whether you want to add humor, drama, or just pace your essay - the use of the proper devices can do this for you.

10 Types of Literary Devices You Can Use in Your Essay

There is a laundry list of literary devices but let’s look at the best literary devices ones you should know about:

1. Metaphor

One of the most common literary devices, metaphors, is used across essays, books, songs, poems, and speeches. They are used to compare two completely unrelated objects. The idea is to provide a more robust description such that the reader interprets it better.

E.g., All the world’s a stage, and all the men and women are merely players.

Here, Shakespeare is comparing the world to the stage and implying that we are all actors enacting different scenes.

The problem with metaphors is that there are so many of them doing the rounds that using the common ones, such as “It is raining cats and dogs” or “Life is a rollercoaster,” among many others, don’t have the impact they should.

Hence, before inserting a metaphor, ensure it’s unique and not overused for it to be truly effective.

Similes and metaphors are not the same. Even though similes compare two different objects, they use the words ‘as’ or ‘like’, making explicit comparisons, unlike metaphors.

Using similes makes writing more interesting and descriptive. Coming up with new similes gets you to push your creative boundaries.

E.g., Fit as a fiddle, Brave as a lion, Slept like a log, etc.

3. Symbolism

As the name suggests, symbolism is when you give a different meaning to an object/subject/action to represent a more extensive concept for readers to understand it at a deeper level. Unlike metaphors and similes, symbolism is a more subtle form of comparison.

Using symbolism is almost like making your writing poetic. Instead of explicitly stating the obvious, you can use symbolism to let readers interpret it and think deeper.

E.g., The works of women are symbolic.

We sew, sew, prick our fingers, dull our sight,

Producing what? A pair of slippers, sir,

To put on when you're weary.

These lines are from Elizabeth Barret Browning’s Aurora Leigh, wherein she compares women to ‘slippers’ that one only turns to when tired, implying how undervalued women are.

4. Alliteration

Alliteration means “letter of the alphabet” and refers to using words that begin with the letters of the same sound group in quick succession. They also refer to using words that start with the same letter.

Alliterations are generally used to draw attention and make something pleasurable to read. You can also use alliteration to name a character or place.

E.g., Peter Piper Picked a Peck of Pickled Peppers.

They all begin with the letter ‘p.’

Sally ate salmon on Sunday.

Even though ‘Sally,’ ‘salmon,’ and ‘Sunday’ begin with ‘s,’ this is not considered an alliteration because none of the words have a similar sound.

“Oh, the irony!” - you must have encountered this phase several times. So, what does irony mean? It is used to highlight situations wherein something is very different from what it seems to be. Irony can be used to inject humor or to add a profound meaning.

Broadly, ironies are divided into - verbal irony, situational irony, and dramatic irony.

Verbal irony is when the speaker says something that is the opposite of what he/she actually means. “Isn’t that sarcasm?” many might wonder.

Video by Christopher Warner  explaining the difference between the two

Situational irony is when the outcome of a situation is very different from what was expected. Dramatic irony is when the character’s understanding of a situation is different from the audience’s.

E.g.  Brutus says he is ambitious, And Brutus is an honorable man.

These lines are said by Mark Antony in Julius Caesar wherein he seems to be praising Brutus but actually isn’t.

6. Hyperbole

Think exaggeration. Yes, that is what hyperboles are.

Hyperboles are when you use words or phrases to make something grander or give it a larger-than-life effect. Sometimes exaggerating or using hyperbole is an effective way to convey the message powerfully or lay emphasis on a particular situation. They are purely used for effect and are not meant to be taken literally.

E.g.  I was helpless. I did not know what in the world to do. I was quaking from head to foot and could have hung my hat on my eyes, and they stuck out so far.

These lines are from Mark Twain’s Old Times on the Mississippi. The hyperbole here is “hung my hat on my eyes. They stuck out so far”. The writer only uses this sentence to emphasize how helpless he was - in reality, his eyes were not sticking out.

7. Personification

Personification is when you give human characteristics and feelings to inanimate objects, animals, or nature. It gives your writing a dramatic effect and lets your readers relate more easily to the situation or object. Personification is also a powerful storytelling tool to create vivid imagery in the minds of readers.

E.g., Her heart was divided between concern for her sister and resentment against all the others.

Here Jane Austen writes about how the character’s (Elizabeth) ‘heart’ was divided between concern and resentment. It is a way of signifying how Elizabeth herself was torn between these two emotions.

8. Oxymoron

An oxymoron refers to a pair of words that are contradictory or opposing. It is used to focus on the multiple meanings an object might have. It makes descriptions more effective while making the reader understand the intensity of the situation or character.

E.g., All animals are equal, but some animals are more equal than others.

George Orwell writes this line in Animal Farm to explain the prevalent hypocrisies. The fact that “some animals are more equal than others” negates the former part of the sentence, thereby demonstrating a paradoxical situation.

Words and phrases used to create a graphic, mental images are referred to as imagery in the readers' minds. You can use imagery to describe a character, weather, place, event, or emotion.

It is not just limited to the visual senses but also includes any description that appeals to all the other senses, like taste, smell, touch, and hearing.

E.g., Mr. Jaggers's room was lighted by a skylight only and was a most dismal place; the skylight, eccentrically patched like a broken head . . . there were some odd objects that I should not have expected to see--such as an old rusty pistol, a sword in a scabbard, several strange-looking boxes and packages, and two dreadful casts on a shelf, of faces peculiarly swollen, and twitchy about the nose.

This is an excerpt from Charles Dickens’s Great Expectations wherein Pip is describing Mr. Jaggers’ room and reading this. We can almost visualize and get a sense of what it would look like.

10. Onomatopoeia

Now, here’s an interesting one - onomatopoeia refers to sound words that are spelled the way their sounds sound. They let the reader hear the sound being written about, engrossing them in the situation or world created in the writing. It’s a simple yet powerful way to emphasize a sound.

Eg.: Hark, hark!

The watch-dogs bark!

Hark, hark! I hear.

These lines from Shakespeare’s The Tempest use onomatopoeia to emphasize on the dogs barking, making us visualize sounds.

Please don’t get overwhelmed by the number of literary devices and be pressured to memorize them or even use all of them in your college essays, for that matter.

While there is no rule for the number of literary devices you can use, what’s important is to maintain a healthy balance and use this tool sparingly. It would be best to use literary devices that can genuinely add value, enhance your description and engage readers .

If you need help writing an interesting essay for college or want your essay to be polished further, we at Writers Per Hour can help.

Our professional team of essay writers knows precisely where and how to use literary devices in college essays. You can receive superior-quality, 100% original, custom-written essays to meet your needs when you work with us. So, contact us today, and let us come to your rescue!

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Transitional Devices

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Transitional devices are like bridges between parts of your paper. They are cues that help the reader to interpret ideas a paper develops. Transitional devices are words or phrases that help carry a thought from one sentence to another, from one idea to another, or from one paragraph to another. And finally, transitional devices link sentences and paragraphs together smoothly so that there are no abrupt jumps or breaks between ideas.

There are several types of transitional devices, and each category leads readers to make certain connections or assumptions. Some lead readers forward and imply the building of an idea or thought, while others make readers compare ideas or draw conclusions from the preceding thoughts.

Here is a list of some common transitional devices that can be used to cue readers in a given way.

and, again, and then, besides, equally important, finally, further, furthermore, nor, too, next, lastly, what's more, moreover, in addition, first (second, etc.)

To Compare:

whereas, but, yet, on the other hand, however, nevertheless, on the contrary, by comparison, where, compared to, up against, balanced against, vis a vis, but, although, conversely, meanwhile, after all, in contrast, although this may be true

because, for, since, for the same reason, obviously, evidently, furthermore, moreover, besides, indeed, in fact, in addition, in any case, that is

To Show Exception:

yet, still, however, nevertheless, in spite of, despite, of course, once in a while, sometimes

To Show Time:

immediately, thereafter, soon, after a few hours, finally, then, later, previously, formerly, first (second, etc.), next, and then

in brief, as I have said, as I have noted, as has been noted

To Emphasize:

definitely, extremely, obviously, in fact, indeed, in any case, absolutely, positively, naturally, surprisingly, always, forever, perennially, eternally, never, emphatically, unquestionably, without a doubt, certainly, undeniably, without reservation

To Show Sequence:

first, second, third, and so forth. A, B, C, and so forth. next, then, following this, at this time, now, at this point, after, afterward, subsequently, finally, consequently, previously, before this, simultaneously, concurrently, thus, therefore, hence, next, and then, soon

To Give an Example:

for example, for instance, in this case, in another case, on this occasion, in this situation, take the case of, to demonstrate, to illustrate, as an illustration, to illustrate

To Summarize or Conclude:

in brief, on the whole, summing up, to conclude, in conclusion, as I have shown, as I have said, hence, therefore, accordingly, thus, as a result, consequently

• Engaging With Sources Effectively

by acburton | Apr 30, 2024 | Resources for Students , Writing Resources

We’ve talked about the three ways to integrate sources effectively that allow writers to provide evidence and support for their argument, enter the scholarly conversation, and give credit to the original authors of the work that has helped and informed them. Sources also encourage writers to share their own knowledge and authority with others, help readers find additional sources related to the topic they are interested in, and protect you by giving credit where credit is due (thus avoiding plagiarism). In other words, sources are much more than just something we add on at the end of our writing!

When writing about a source or simply referencing it, we are positioning ourselves in response to, or in conversation with that source, with the goal of focusing our writing on our own argument/thesis. Sources do not stand on their own within a piece of writing and that is why, alongside finding strong and reputable sources worth responding to and making sure that we fully understand sources (even before writing about them), it is critical to engage with our sources in meaningful ways. But how exactly do we effectively engage with our sources in our writing?

Joseph Harris, in How To Do Things with Texts , presents four different ways of “rewriting the work of others”, three of which provide insight into the how of engaging sources. When a writer forwards the work of another writer, they are applying the concepts, topics, or terms from one reading, text, or situation to a different reading, text or situation. By countering the ideas found in source material, a writer argues “against the grain of a text” by underlining and countering ideas that a writer may be in disagreement with. Taking an approach is the adaptation of a theory or method from one writer to a new set of issues or texts. Harris’ book provides a thorough classification of methods to engage with a source. For something a little simpler, here are three basic ways you can get started effectively engaging with sources (Harris 5-7).

3 Basic Ways to Engage with Sources Effectively

• Disagree and Explain Why. Persuade your reader that the argument or information in a source should be questioned or challenged.
• Agree, But With Your Own Take. Add something new to the conversation. Expand a source’s insights or argument to a new situation or your own example. Provide new evidence and discuss new implications.
• Agree and Disagree Simultaneously. This is a nuanced approach to complex sources or complex topics. You can, for example, agree with a source’s overall thesis, but disagree with some of its reasoning or evidence.

Remember that this is not an exhaustive list. When engaging with others’ sources as a way to support our own ideas and argument, it is crucial that we engage with critical thinking, nuance, and objectivity to ensure that we are constructing unbiased, thoughtful, and compelling arguments.

Some of the different areas throughout your essay that will benefit from effective engagement with source material include: your thesis statement, analysis, and conclusion.

• Thesis Statement. The argument that you make in your thesis statement can challenge, weaken, support, or strengthen what is being argued by your source or sources.

Analysis. Thorough analysis in your body paragraphs emphasize the role of your argument in comparison to that found in your source material. Bring your analysis back to your thesis statement to reinforce the connection between the two.

• Conclusion. Consider the “big picture” or “takeaways” to leave your reader with.

There are many other, sometimes optional, essay sections or writing styles that benefit from critical engagement with a source. These can include literature reviews, reflections, critiques, and so on.

Strategies for Engaging Critically From Start to Finish

• Aim to dig deeper than surface level. Ask the ‘how’ and ‘why’ of a source, as well as ‘how’ and ‘why’ it is relevant to the topic at hand and the argument you are making.
• Ask yourself if you’ve addressed every possible question, concern, critique, or “what if” that comes to mind; put yourself in the place of your readers.
• Use TEAL body paragraph development as a template and guide for developing thorough analysis in your body paragraphs. Effectively engaging with your sources is essential to the analysis portion of the TEAL formula and to creating meaningful engagement with your sources.
• Visit the Writing Center for additional support on crafting engaging analyses and for other ways to engage with your source material from thesis to conclusion.

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It’s Time to Treat Sugar Like Cigarettes

T he food we eat impacts every aspect of our lives and our bodies: our hormones, brain chemistry, immune system, microbiome; the list goes on. As consumers, we deserve the right to easily understand our foods’ nutritional value in order to make informed decisions about what we consume and how that will impact our health and well being. This is especially important when it comes to ingredients that are detrimental when eaten in excess, such as sugar. As researchers in functional medicine, longevity, AI, and nutrition, as well as inventors of health-enhancing and life-saving solutions, we have dedicated our professional lives to improving the health and well-being of millions everywhere. And while we applaud the Food and Drug Administration (FDA) taking important strides to pass mandatory front-of-package labeling for packaged foods in the U.S., this is a change that cannot come soon enough. Everyone’s health depends on it. 

The FDA recommends adults consume no more than 50 grams of added sugar per day (based on a 2,000 calorie diet), but the average American consumes closer to one-third of a pound of sugar daily, more than three times the recommended amount. To put that into perspective, the average American consumes over 100 pounds of sugar per person per year. With that much sugar consumption, it is no wonder that 49% of American adults are diabetic or pre-diabetic. What’s worse is that much of the sugar we consume occurs without our even realizing it. There are over 60 different ways sugar is identified on nutrition labels, making a consumer’s attempt to regulate their sugar intake unfairly complicated.

Extensive academic research published in medical peer-reviewed journals backs common knowledge that excess sugar consumption can lead to serious chronic conditions , as well as fatigue , anxiety , memory loss , ADHD , and even to a shorter life .

Seventy four percent of packaged foods in the U.S. contain added sugar, including seemingly healthy foods, such as salad dressing, coleslaw, and even baked beans, marinades, and yogurt; some sweetened yogurts contain more sugar than a can of soda. The fact that sugar is so biologically addictive — studies indicate it is eight times more addictive than cocaine — makes the reality that it’s hidden in so many foods even more harmful. Most of us are addicted to sugar and we don’t even know it.

This cycle of addiction is relentless and hard to break: we eat food with sugar, which then triggers a blood sugar spike, which lights up the pleasure center in our brain. When the inevitable sugar crash comes, we seek that spike again in the form of craving more sugar. Without easily discernible food labeling, shoppers unknowingly create this cycle inside their own bodies, even while they erroneously think the food they’re buying is healthy.

Read More: How the World Got Hooked on Sugar

In many countries, labels on packaged foods serve a similar function to labels on cigarette cartons: to warn consumers of risk. In Chile , a policy of “high in” labels on the front of sugary drinks dramatically reduced the consumption of those beverages. In Israel, a front-of-package labelling system , wherein a red label indicates an item high in sugar, has led to significant positive changes in 76% of the population’s food buying habits. We’re excited to see what a similar program in the U.S. would yield.

Those in the U.S. lobbying against this front-of-package change, unsurprisingly, have an interest in the continued popularity of their products. In a February 2023 joint filing , the nation’s largest cereal producers threatened a lawsuit after proposed changes would not allow them to label products as “healthy” if they didn’t meet nutritional standards. The front-of-package suggested change would rightfully prevent many cereals on the market with excess sugar from calling themselves “healthy.”

This dynamic is similar to changes made in cigarette advertising in the 20th century. In the 1940s, a famous Camel cigarettes campaign featured the slogan , “More doctors smoke Camels.” By 1969, a mandatory warning label was added to cigarettes, giving consumers clearer access to information about risks, allowing them to make more informed choices about their health. Today the percentage of Americans who smoke is 11% compared to nearly 50% back in the day when “more doctors smoked Camels”. Life expectancy rose nearly 11 years in that span of time too, and the decrease in smoking certainly contributed.

While front-of-package labeling on packaged foods is a crucial first step towards a healthier society, education and awareness alone will only get us so far. To drive even more significant change in the way most Americans eat, a change that will lead to a healthier population, we must also incentivize the production and widespread distribution of healthier alternatives. These alternatives—a packaged cookie with healthier ingredients, for instance—must be just as delicious, and readily available as those loaded with sugar. The recently announced new standards by the U.S. Department of Agriculture (USDA) that will limit added sugars in school meals can greatly help with the availability of healthier alternatives, especially when children form their eating habits. For the rest of us, though, front-of-package labeling is an important step one in this journey towards national wellness and it will also encourage producers to create healthier options for consumers; readily available healthier alternatives is step two.

FDA leadership ensuring labeling of high contents of sugar in packaged foods could increase awareness and reduce the negative impacts of sugar and help millions live healthier longer lives. This change would help us make more informed choices about our food and our health. We believe it is our right, and every American’s right, to have clear and visible information about the sugar content of the foods we are eating in order to make more informed decisions.

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Expo 50 contest runner-ups: Gretchen James’ essay and Mia Ressa’s art

To mark Expo ‘74’s anniversary, The Spokesman-Review, in partnership with Spokane Public Schools and Expo 50, held a writing and art contest for high school students. 

The contest was open to anyone in grades 9-12 from the newspaper circulation area in Eastern Washington and North Idaho. 

The Spokesman-Review is proud to announce the following essay and art as the runner-ups of the contest, in which students were asked to focus on the environmental theme, show the effects the fair had on the city, research the importance of Spokane Falls to Indigenous peoples, profile fair guests or the people who made it happen or choose any other topic related to Expo ‘74.

The first thing that I saw was your eyes. The spark of joy that encapsulated them as you laughed, a laugh that seemed so familiar to me. A familiarity like I had heard you laugh my entire life. You tossed a piece of kettle corn into the air and so easily it dropped into your mouth. The next minute I blinked, and you were gone. The memory disappeared in an instant, like waking up after a good dream. The only thing you want is to go back, to go back to the fantasy that is dreaming. All I wanted was to hold onto that memory, to hold onto it for just a moment longer.

I have spent 50 years waiting, waiting to see you again. I see a spark in someone else’s eyes, and it takes me back to that moment, that moment at the World’s Fair. The pounding in my chest as I am watching you all over again, watching you laugh and everything around you goes silent. A spark of hope electrifies my body, and for a moment, I actually believe it is you.

Sometimes I try to imagine what you must look like 50 years older, I image wrinkles and grayer hair, but in all of my imaginations your laugh is always the same. It is something that in my mind will always stand the test of time. It is everything when there is nothing, like a star in a desolate sky.

That day was a day that changed my entire life. My dreams of going to space, inventing the new greatest form of technology, or marrying some really rich girl all went out the window. Nothing mattered except for you, you were my everything and I was nothing.

I remember the crowds as I walked into the fair. There were more people than I could have ever imagined. 5.2 million visitors crowded the streets of the tiny city of Spokane. The motto, “Progress Without Pollution,” was on signs everywhere you looked. I remember the lights and the noises as everyone was trying to urge you to go this way or that, to see this attraction or the next. It fascinated me to see so many different people trying to stay with their families or friends, others with a look of defeat dragging down their faces because there was no way they were going to be able to find their group again. The atmosphere was electric as people moved constantly in a desperate hurry to get somewhere, who really knows where.

I was standing and watching people around me, telling people that, “no I would not like to learn about sustainable ways to clean up the land along the Spokane River,” or, “volunteer to help solve the traffic problem that has been caused by the railroads,” when I saw her. She was sitting with a group of friends, and the moment she caught my eye all the chaos around me disappeared. I watched her for a few minutes, some guy walked up to me and asked me something, but I wasn’t paying attention, and in a moment he just walked away. It took me a few minutes to get up the courage to talk to her, but I finally did.

The entire day, she wouldn’t tell me her name. I followed her around as she went from one place to the next, not really stopping anywhere long enough to actually learn anything about the environment. I just smiled as I watched her curious expression turn to boredom and then happiness as she went on to the next place. I think she liked the attention as I asked her questions about her life that she chose not to answer. The mystery of her is what pulled me in. It was a lock, I just had to find the key.

As the fair started to close down for the day, I wanted to go see the falls of the Spokane river. I watched as the water plummeted down with such a force that it would be certain you would die if you ever fell into it. She had been standing right by my side and at this moment I decided to ask her her name again, but I looked to my side, and she wasn’t anywhere to be found.

Want an electric vehicle? Better keep our hydropower

As we embark on a second "Great Electrification," in an effort to decarbonize our economy, it’s worth remembering the first one that occurred 80 years ago.

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I Was an Attorney at the D.A.’s Office. This Is What the Trump Case Is Really About.

By Rebecca Roiphe

Ms. Roiphe is a former assistant district attorney in the Manhattan District Attorney’s Office.

Now that the lawyers are laying out their respective theories of the case in the criminal prosecution of Donald Trump in New York, it would be understandable if people’s heads are spinning. The defense lawyers claimed this is a case about hush money as a legitimate tool in democratic elections, while the prosecutors insisted it is about “a criminal scheme to corrupt the 2016 presidential election.”

Yet this case is not really about election interference, nor is it a politically motivated attempt to criminalize a benign personal deal. Boring as it may sound, it is a case about business integrity.

It’s not surprising that the lawyers on both sides are trying to make this about something sexier. This is a narrative device used to make the jurors and the public side with them, but it has also created confusion. On the one hand, some legal experts claim that the conduct charged in New York was the original election interference. On the other hand, some critics think the criminal case is a witch hunt, and others claim it is trivial at best and at worst the product of selective prosecution.

As someone who worked in the Manhattan district attorney’s office and enforced the laws that Mr. Trump is accused of violating, I stand firmly in neither camp. It is an important and straightforward case, albeit workmanlike and unglamorous. In time, after the smoke created by lawyers has cleared, it will be easy to see why the prosecution is both solid and legitimate.

It would hardly make for a dramatic opening statement or cable news sound bite, but the case is about preventing wealthy people from using their businesses to commit crimes and hide from accountability. Manhattan prosecutors have long considered it their province to ensure the integrity of the financial markets. As Robert Morgenthau, a former Manhattan district attorney, liked to say , “You cannot prosecute crime in the streets without prosecuting crime in the suites.”

Lawmakers in New York, the financial capital of the world, consider access to markets and industry in New York a privilege for businesspeople. It is a felony to abuse that privilege by doctoring records to commit or conceal crimes, even if the businessman never accomplishes the goal and even if the false records never see the light of day. The idea is that an organization’s records should reflect an honest accounting. It is not a crime to make a mistake, but lying is a different story. It is easy to evade accountability by turning a business into a cover, providing a false trail for whichever regulator might care to look. The law ( falsification of business records ) deprives wealthy, powerful businessmen of the ability to do so with impunity, at least when they’re conducting business in the city.

Prosecutors and New York courts have interpreted this law generously, with its general purpose in mind. The element of intent to defraud carries a broad meaning, which is not limited to the intent of cheating someone out of money or property. Further, intent is often proved with circumstantial evidence, as is common in white-collar cases. After presenting evidence, prosecutors ask jurors to use their common sense to infer what the possible intent may be, and New York jurors frequently conclude that a defendant must have gone to the trouble of creating this false paper trail for a reason.

Mr. Trump is accused of creating 11 false invoices, 12 false ledger entries and 11 false checks and check stubs, with the intent to violate federal election laws, state election laws or state tax laws. The number of lies it took to create this false record itself helps prove intent. His defense attorneys will claim that he was merely trying to bury a false story to protect his family from embarrassment. The timing of the payments — immediately after the potentially damaging “Access Hollywood” tape was released and right before the election — makes that claim implausible.

As many have pointed out, Michael Cohen, Mr. Trump’s former lawyer and fixer, is a witness with a remarkable amount of baggage. But as with most business records cases, his testimony will largely add color to the tweets, handwritten notes, bank documents and shell corporations. Documents don’t lie.

More important, jurors are particularly good at applying common sense. Mr. Trump didn’t go to all this trouble just to protect his family members, who might have known about accusations of his involvement with the porn star Stormy Daniels or similar ones. We may never learn which crime the jurors believe Trump was seeking to commit or cover up, but they can still conclude beyond a reasonable doubt that this was his intent.

It is not unusual for lawyers to give narrative arcs to their legal theories, reasons to care about the evidence and animating thoughts that may make jurors more inclined to convict or acquit.

When the jurors deliberate, they will weigh the warring narratives in light of the evidence, and the judge will instruct them in the law. Then the narrative frames should recede into the background. The key is to offer one that is both captivating and closely tied to the facts so that when the jurors put the pieces of evidence together, it is the story they believe.

If one side promises too much, it risks losing the jurors. In their opening remarks, Mr. Trump’s lawyers insisted that he was innocent, that all the witnesses were liars. Such a sweeping theory is a dangerous strategy because if the jurors believe part of the prosecution’s case, just one or two of the witnesses, then the jurors may lose faith in the defense altogether.

For the prosecution, the elements of the crime in this case do not require a finding that Mr. Trump interfered with the 2016 election. Nor does it matter whether he had sex with Ms. Daniels. Instead, the real elements concern the way Mr. Trump used his business for a cover-up. By emphasizing the crime he was intending to conceal rather than the false business records, the prosecution also risks confusing the jury into thinking about whether the lies affected the election. It might lead them to wonder why Mr. Trump wasn’t charged with this alleged election crime by the federal government — a talking point that he has promoted publicly.

Even if the case seems simpler in this light, we are still left with the question: Is it really worth charging a former president for this? While the New York business records law is important, it is no doubt true that the conduct pales in comparison with the effort to overthrow the 2020 election, at issue in the special counsel Jack Smith’s Jan. 6 prosecution of Mr. Trump.

Taking this case on its own terms as a business records case offers a different and arguably more convincing way to defend its legitimacy. It is a simple case that is similar to hundreds of other cases brought in New York. The simplicity and run-of-the-mill nature of the prosecution make it easier to defend against claims of politicization in the following sense: Mr. Trump was a businessman for many years in New York long before he was president. If others would be prosecuted for this conduct and no man is above the law, then he should be, too.

So by all means, listen to the stories that the lawyers tell, soak up the drama of hush-money payments and the alternate universe in which Hillary Clinton won the election. But just as the jurors should ultimately consider the facts and the law, it would be wise for everyone else to focus on what the case is really about.

Rebecca Roiphe, a former assistant district attorney in the Manhattan District Attorney’s Office, is a law professor at New York Law School.

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

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The best new science fiction books of May 2024

A new Stephen King short story collection, an Ursula K. Le Guin reissue and a celebration of cyberpunk featuring writing from Philip K. Dick and Cory Doctorow are among the new science fiction titles published this month

By Alison Flood

A new short story collection from Stephen King, You Like It Darker, is out in May

Shane Leonard

Every month, I trawl through publishers’ catalogues so I can tell you about the new science fiction being released. And every month, I’m disappointed to see so much more fantasy on publishers’ lists than sci-fi. I know it’s a response to the huge boom in readers of what’s been dubbed “ romantasy ”, and I’m not knocking it – I love that sort of book too. But it would be great to see more good, hard, mind-expanding sci-fi in the offing as well.

In the meantime, there is definitely enough for us sci-fi fans to sink our teeth into this month, whether it’s a reissue of classic writing from Ursula K. Le Guin, some new speculative short stories from Stephen King or murder in space from Victor Manibo and S. A. Barnes.

Last month, I tipped Douglas Preston’s Extinction and Sofia Samatar’s The Practice, the Horizon, and the Chain as books I was looking forward to. I can report that they were both excellent: Extinction was a lot of good, clean, Jurassic Park -tinged fun, while Samatar’s offering was a beautiful and thought-provoking look at life on a generation ship.

The Language of the Night: Essays on writing, science fiction, and fantasy by Ursula K. Le Guin

There are few sci-fi and fantasy writers more brilliant (and revered) than Ursula K. Le Guin. This reissue of her first full-length collection of essays features a new introduction from Hugo and Nebula award-winner Ken Liu and covers the writing of The Left Hand of Darkness and A Wizard of Earthsea , as well as her advocacy for sci-fi and fantasy as legitimate literary mediums. I’ve read some of these essays but not all, and I won’t be missing this collection.

Nuclear War: A Scenario by Annie Jacobsen

This isn’t science fiction, not quite, but it is one of the best and most important books I have read for some time. It sees Jacobsen lay out, minute by minute, what would happen if an intercontinental ballistic missile hit Washington DC. How would the US react? What, exactly, happens if deterrence fails? Jacobsen has spoken to dozens of military experts to put together what her publisher calls a “non-fiction thriller”, and what I call the scariest book I have possibly ever read (and I’m a Stephen King fan; see below). We’re currently reading it at the New Scientist Book Club, and you can sign up to join us here .

Read an extract from Nuclear War: A scenario by Annie Jacobsen

In this terrifying extract from Annie Jacobsen’s Nuclear War: A Scenario, the author lays out what would happen in the first seconds after a nuclear missile hits the Pentagon

The Big Book of Cyberpunk (Vol 1 & 2)

Forty years ago, William Gibson published Neuromancer . Since then, it has entranced millions of readers right from its unforgettable opening line: “The sky above the port was the color of television, tuned to a dead channel…”. Neuromancer gave us the literary genre that is cyberpunk, and we can now welcome a huge, two-volume anthology celebrating cyberpunk’s best stories, by writers from Cory Doctorow to Justina Robson, and from Samuel R. Delaney to Philip K. Dick. I have both glorious-sounding volumes, brought together by anthologist Jared Shurin, on my desk (using up most of the space on it), and I am looking forward to dipping in.

You Like It Darker by Stephen King

You could categorise Stephen King as a horror writer. I see him as an expert chronicler of the dark side of small-town America, and from The Tommyknockers and its aliens to Under the Dome with its literally divisive trope, he frequently slides into sci-fi. Even the horror at the heart of It is some sort of cosmic hideousness. He is one of my favourite writers, and You Like It Darker is a new collection of short stories that moves from “the folds in reality where anything can happen” to a “psychic flash” that upends dozens of lives. There’s a sequel to Cujo , and a look at “corners of the universe best left unexplored”. I’ve read the first story so far, and I can confirm there is plenty for us sci-fi fans here.

Enlightenment by Sarah Perry

Not sci-fi, but fiction about science – and from one of the UK’s most exciting writers (if you haven’t read The Essex Serpent yet, you’re in for a treat). This time, Perry tells the story of Thomas Hart, a columnist on the Essex Chronicle who becomes a passionate amateur astronomer as the comet Hale-Bopp approaches in 1997. Our sci-fi columnist Emily Wilson is reviewing it for New Scientist ’s 11 May issue, and she has given it a vigorous thumbs up (“a beautiful, compassionate and memorable book,” she writes in a sneak preview just for you guys).

Ghost Station by S.A. Barnes

Dr Ophelia Bray is a psychologist and expert in the study of Eckhart-Reiser syndrome, a fictional condition that affects space travellers in terrible ways. She’s sent to help a small crew whose colleague recently died, but as they begin life on an abandoned planet, she realises that her charges are hiding something. And then the pilot is murdered… Horror in space? Mysterious planets? I’m up for that.

In Hey, Zoey, the protagonist finds an animatronic sex doll hidden in her garage

Shutterstock / FOTOGRIN

Hey, Zoey by Sarah Crossan

Hot on the heels of Sierra Greer’s story about a sex robot wondering what it means to be human in Annie Bot , the acclaimed young adult and children’s author Sarah Crossan has ventured into similar territory. In Hey, Zoey , Dolores finds an animatronic sex doll hidden in her garage and assumes it belongs to her husband David. She takes no action – but then Dolores and Zoey begin to talk, and Dolores’s life changes.

How to Become the Dark Lord and Die Trying by Django Wexler

Davi has tried to take down the Dark Lord before, rallying humanity and making the final charge – as you do. But the time loop she is stuck in always defeats her, and she loses the battle in the end. This time around, Davi decides that the best thing to do is to become the Dark Lord herself. You could argue that this is fantasy, but it has a time loop, so I’m going to count it as sci-fi. It sounds fun and lighthearted: quotes from early readers are along the lines of “A darkly comic delight”, and we could all use a bit of that these days.

Escape Velocity by Victor Manibo

It’s 2089, and there’s an old murder hanging over the clientele of Space Habitat Altaire, a luxury space hotel, while an “unforeseen threat” is also brewing in the service corridors. A thriller in space? Sounds excellent – and I’m keen to see if Manibo makes use of the latest research into the angle at which blood might travel following violence in space, as reported on by our New Scientist humour columnist Marc Abrahams recently.

The best new science fiction books of March 2024

With a new Adrian Tchaikovsky, Mars-set romance from Natasha Pulley and a high-concept thriller from Stuart Turton due to hit shelves, there is plenty of great new science fiction to be reading in March

In Our Stars by Jack Campbell

Part of the Doomed Earth series, this follows Lieutenant Selene Genji, who has been genetically engineered with partly alien DNA and has “one last chance to save the Earth from destruction”. Beautifully retro cover for this space adventure – not to judge a book in this way, of course…

The Downloaded by Robert J. Sawyer

Two sets of people have had their minds uploaded into a quantum computer in the Ontario of 2059. Astronauts preparing for the world’s first interstellar voyage form one group; the other contains convicted murderers, sentenced to a virtual-reality prison. Naturally, disaster strikes, and, yup, they must work together to save Earth from destruction. Originally released as an Audible Original with Brendan Fraser as lead narrator, this is the first print edition of the Hugo and Nebula award-winning Sawyer’s 26 th novel.

The Ferryman by Justin Cronin

Just in case you still haven’t read it, Justin Cronin’s gloriously dreamy novel The Ferryman , set on an apparently utopian island where things aren’t quite as they seem, is out in paperback this month. It was the first pick for the New Scientist Book Club, and it is a mind-bending, dreamy stunner of a read. Go try it – and sign up for the Book Club in the meantime!

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The Last Thing This Supreme Court Could Do to Shock Us

There will be no more self-soothing after this..

For three long years, Supreme Court watchers mollified themselves (and others) with vague promises that when the rubber hit the road, even the ultraconservative Federalist Society justices of the Roberts court would put democracy before party whenever they were finally confronted with the legal effort to hold Donald Trump accountable for Jan. 6. There were promising signs: They had, after all, refused to wade into the Trumpian efforts to set aside the election results in 2020. They had, after all, hewed to a kind of sanity in batting away Trumpist claims about presidential records (with the lone exception of Clarence Thomas, too long marinated in the Ginni-scented Kool-Aid to be capable of surprising us, but he was just one vote). We promised ourselves that there would be cool heads and grand bargains and that even though the court might sometimes help Trump in small ways, it would privilege the country in the end. We kept thinking that at least for Justices Brett Kavanaugh and Neil Gorsuch and Chief Justice John Roberts , the voice of reasoned never-Trumpers might still penetrate the Fox News fog. We told ourselves that at least six justices, and maybe even seven, of the most MAGA-friendly court in history would still want to ensure that this November’s elections would not be the last in history. Political hacks they may be, but they were not lawless ones.

On Thursday, during oral arguments in Trump v. United States , the Republican-appointed justices shattered those illusions. This was the case we had been waiting for, and all was made clear—brutally so. These justices donned the attitude of cynical partisans, repeatedly lending legitimacy to the former president’s outrageous claims of immunity from criminal prosecution. To at least five of the conservatives, the real threat to democracy wasn’t Trump’s attempt to overturn the election—but the Justice Department’s efforts to prosecute him for the act. These justices fear that it is Trump’s prosecution for election subversion that will “destabilize” democracy, requiring them to read a brand-new principle of presidential immunity into a Constitution that guarantees nothing of the sort. They evinced virtually no concern for our ability to continue holding free and fair elections that culminate in a peaceful transfer of power. They instead offered endless solicitude for the former president who fought that transfer of power.

However the court disposes of Trump v. U.S. , the result will almost certainly be precisely what the former president craves: more delays, more hearings, more appeals—more of everything but justice . This was not a legitimate claim from the start, but a wild attempt by Trump’s attorneys to use his former role as chief executive of the United States to shield himself from the consequences of trying to turn the presidency into a dictatorship. After so much speculation that these reasonable, rational jurists would surely dispose of this ridiculous case quickly and easily, Thursday delivered a morass of bad-faith hand-wringing on the right about the apparently unbearable possibility that a president might no longer be allowed to wield his powers of office in pursuit of illegal ends. Just as bad, we heard a constant minimization of Jan. 6, for the second week in a row , as if the insurrection were ancient history, and history that has since been dramatically overblown, presumably for Democrats’ partisan aims.

We got an early taste of this minimization in Trump v. Anderson , the Colorado case about removing Trump from the ballot. The court didn’t have the stomach to discuss the violence at the Capitol in its sharply divided decision, which found for Trump ; indeed, the majority barely mentioned the events of Jan. 6 at all when rejecting Colorado’s effort to bar from the ballot an insurrectionist who tried to steal our democracy. But we let that one be, because we figured special counsel Jack Smith would ride to the rescue. Smith has indicted Trump on election subversion charges related to Jan. 6, and the biggest obstacle standing between the special counsel and a trial has been the former president’s outlandish claim that he has absolute immunity from criminal charges as a result of his having been president at the time. Specifically, Trump alleges that his crusade to overturn the election constituted “official acts” that are immune from criminal liability under a heretofore unknown constitutional principle that the chief executive is quite literally above the law.

The U.S. Court of Appeals for the District of Columbia Circuit held in February that the president does not have blanket or absolute immunity for all actions taken in office, including “official” acts performed under the guise of executing the law (for example, Trump’s attempt to weaponize the DOJ against election results under the pretense of investigating fraud). The D.C. Circuit’s emphatic, cross-ideological decision should have been summarily affirmed by SCOTUS within days. Instead, the justices set it for arguments two months down the road—a bad omen, to put it mildly . Even then, many court watchers held out hope that Thursday morning’s oral arguments were to be the moment for the nine justices of the Supreme Court to finally indicate their readiness to take on Trump, Trumpism, illiberalism, and slouching fascism.

It was not to be. Justice Samuel Alito best captured the spirit of arguments when he asked gravely “what is required for the functioning of a stable democratic society” (good start!), then answered his own question: total immunity for criminal presidents (oh, dear). Indeed, anything but immunity would, he suggested, encourage presidents to commit more crimes to stay in office: “Now, if an incumbent who loses a very close, hotly contested election knows that a real possibility after leaving office is not that the president is going to be able to go off into a peaceful retirement but that the president may be criminally prosecuted by a bitter political opponent, will that not lead us into a cycle that destabilizes the functioning of our country as a democracy?” Never mind that the president in question did not leave office peacefully and is not sitting quietly in retirement but is instead running for presidential office once again. No, if we want criminal presidents to leave office when they lose, we have to let them commit crimes scot-free. If ever a better articulation of the legal principle “Don’t make me hit you again” has been proffered at an oral argument, it’s hard to imagine it.

Justice Sonia Sotomayor spoke to this absurdity when she responded in what could only be heard as a cri de coeur: “Stable democratic society needs good faith of public officials,” she said. “That good faith assumes that they will follow the law.” The justice noted that despite all the protections in place, a democracy can sometimes “potentially fail.” She concluded: “In the end, if it fails completely, it’s because we destroyed our democracy on our own, isn’t it?”

But it was probably too late to make this plea, because by that point we had heard both Alito and Gorsuch opine that presidents must be protected at all costs from the whims of overzealous deep state prosecutors brandishing “vague” criminal statutes. We heard Kavanaugh opine mindlessly on the independent counsel statute and how mean it is to presidents, reading extensively from Justice Antonin Scalia’s dissent in a case arguing that independent counsels are unconstitutional. (Yes, Kavanaugh worked for Ken Starr , the independent counsel.) If you’re clocking a trend here, it’s gender. Just as was the case in Anderson , it’s the women justices doing the second-shift work here: both probing the thorny constitutional and criminal questions and signaling a refusal to tank democracy over abstractions and deflections. As was the case in the EMTALA arguments, it’s the women who understand what it looks like to cheat death.

Is the president, Sotomayor asked, immune from prosecution if he orders the military to assassinate a political rival? Yes, said John Sauer, who represented Trump—though it “depends on the circumstances.” Could the president, Justice Elena Kagan asked, order the military to stage a coup? Yes, Sauer said again, depending on the circumstances. To which Kagan tartly replied that Sauer’s insistence on specifying the “circumstances” boiled down to “Under my test, it’s an official act, but that sure sounds bad, doesn’t it?” (Cue polite laughter in the chamber.)

This shameless, maximalist approach should have drawn anger from the conservative justices—indignation, at least, that Sauer took them for such easy marks. But it turns out that he calibrated his terrible arguments just right. The cynicism on display was truly breathtaking: Alito winkingly implied to Michael Dreeben, representing Smith, that we all know that Justice Department lawyers are political hacks, right? Roberts mocked Dreeben for saying “There’s no reason to worry because the prosecutor will act in good faith.”

The conservative justices are so in love with their own voices and so convinced of their own rectitude that they monologued about how improper it was for Dreeben to keep talking about the facts of this case, as opposed to the “abstract” principles at play. “I’m talking about the future!” Kavanaugh declared at one point to Dreeben, pitching himself not as Trump’s human shield but as a principled defender of the treasured constitutional right of all presidents to do crime. (We’re sure whatever rule he cooks up will apply equally to Democratic presidents, right?) Kavanaugh eventually landed on the proposition that prosecutors may charge presidents only under criminal statutes that explicitly state they can be applied to the president. Which, as Sotomayor pointed out, would mean no charges everywhere, because just a tiny handful of statutes are stamped with the label “CAN BE APPLIED TO PRESIDENT.”

The words bold and fearless action were repeated on a loop today, as a kind of mantra of how effective presidents must be free to act quickly and decisively to save democracy from the many unanticipated threats it faces. And yet the court—which has been asked to take bold and fearless action to deter the person who called Georgia’s secretary of state to demand that he alter the vote count, and threatened to fire DOJ officials who would not help steal an election—is backing away from its own duty. The prospect of a criminal trial for a criminal president shocked and appalled five men: Thomas, Alito, Kavanaugh, and Gorsuch suggested that Smith’s entire prosecution is unconstitutional; meanwhile, Roberts sounded eager at times to handle the case just a hair more gracefully: by cutting out its heart by preventing the jury from hearing about “official acts” (which lie at the center of the alleged conspiracy). Justice Amy Coney Barrett was far more measured, teasing out a compromise with Dreeben that would compel the trial court to tell the jury it could not impose criminal liability for these “official” acts, only “private ones.” Remember, drawing that line would require months of hearings and appeals, pushing any trial into 2025 or beyond. The president who tried to steal the most recent election is running in the next one, which is happening in mere months.

The liberal justices tried their best to make the case that justice required denying Trump’s sweeping immunity claim, permitting the trial to move forward, and sorting out lingering constitutional issues afterward, as virtually all other criminal defendants must do. They got little traction. Everyone on that bench was well aware that the entire nation was listening to arguments; that the whole nation wants to understand whether Trump’s refusal to concede the 2020 election was an existential threat to democracy or a lark. Five justices sent the message, loud and clear, that they are far more worried about Trump’s prosecution at the hands of the deep-state DOJ than about his alleged crimes, which were barely mentioned. This trial will almost certainly face yet more delays. These delays might mean that its subject could win back the presidency in the meantime and render the trial moot. But the court has now signaled that nothing he did was all that serious and that the danger he may pose is not worth reining in. The real threats they see are the ones Trump himself shouts from the rooftops: witch hunts and partisan Biden prosecutors. These men have picked their team. The rest hardly matters.