| A | B |
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| Narrative structure | the arrangement of the plot; a literary outline consisting of exposition, rising action, climax, falling action, and denouement. These five elements of a story are referred to as the Freitag Triangle. |
| Tone | the writer's attitude toward his subject; his mood or his moral view. (A writer can be formal, informal, playful, ironic, optimistic/pessimistic, satirical, or comic.) |
| Parallelism | Similarity in construction in clauses or phrases; the use of similar grammatical format. |
| Rhetorical Questions | Questions which are not meant to be answered because their answers are obvious or meant to be obvious. |
| Personification | giving human qualities to inanimate objects |
| Simile | comparison using like or as |
| Metaphor | comparison without using like or as |
| Paradox | self-contradictory statement, seemingly opposed to common sense, but that may have some truth in it |
| Verbal Irony | what is said is the opposite of what is meant; often involving the use of sarcasm |
| Dramatic Irony | the audience know what the character(s) do not |
| Situational Irony | what occurs is the opposite of what is expected |
| Hyperbole | extreme exaggeration for emphasis or rhetorical effect |
| Direct address | a particular statement directed to a particular person or persons |
| Colloquial | language used in informal conversation, not accepted universally in formal speech or writing |
| Connotative | emotional implications and associations that words may carry as distinguished from denotative meaning |
| Diction | the choice or use of words |
| Allusion | a brief reference to a literary or historical figure, event, or object. |
| Abstract language | language expressing vague, imparticular, abstract ideas such as "beauty" or "whiteness" without regard to concrete examples. |
| Concrete language | an actual specific object or instance existing in reality and perceptible to the senses. |
| Simple language | clear, concise language using no unnecessary words or phrases |
| Pretentious language | use of overblown, haughty, arrogant language, often to impress rather than to inform |
| Imagery | use of vivid or or figurative language to represent objects, actions, or ideas |
| Syntax | pattern of formation of sentences or phrases in a language, sentence, or discourse to form grammatical structure |
| Antithesis | establishes a clear, contrasting relationship between two words or ideas by joining them together or juxtaposing them, often in parallel structure |
| Apostrophe | rhetorically addressing an absent person or personified thing |
| Formal | Stricter, meticulous observation of grammatical or stylistic form |
| Informal | Language having lax or personal tone, using slang, second person, and colloquial language |
| Transitions | a word, phrase, or sentence connecting one discourse to another;transitions provide the logical connection from one thought to another |
| Alliteration | repetition of the initial sound |
| Juxtaposition | placing of words or concepts side-by-side for comparison or contrast |
| Repetition | act of repeating or being repeated to make a deeper impression |
| Sarcasm | A form of wit characterized by the use of cutting or ironic remarks intended to wound or make its victim the butt of contempt or ridicule |
| Denotative | An objective definition; dictionary or scientific definition |
| Long sentences | the effect of long sentences is to express action which occurs quickly; long sentences force the reader to read more quickly |
| Short sentences | The effect of short sentences is to create tension in the reader. Often used to convey the mindset of the narrator or character. |
