1135:
vanished, as the once vital voice of the verisimilitude now venerates what they once vilified. However, this valorous visitation of a bygone vexation stands vivified, and has vowed to vanquish these venal and virulent vermin vanguarding vice and vouchsafing the violently vicious and voracious violation of volition. The only verdict is vengeance; a vendetta held as a votive, not in vain, for the value and veracity of such shall one day vindicate the vigilant and the virtuous. Verily, this vichyssoise of verbiage veers most verbose vis-Ă -vis an introduction, and so it is my very good honor to meet you and you may call me V."
188:. This contrast between the two locations highlights the protagonist Mustafa Saeed's struggle with cultural, social, and psychological challenges as he moves between his homeland and the West. Wad Hamed symbolizes tradition and rural life, while London represents modernity and colonial influence. Salih skillfully employs setting to explore themes of identity, cultural clash, and colonialism's enduring impact.
1663:
here lies in the two levels of awareness between the character and the audience); and verbal irony, where one states one thing while meaning another. The difference between verbal irony and sarcasm is exquisitely subtle and often contested. The concept of irony is too often misunderstood in popular usage. Unfortunate circumstances and coincidences do not constitute irony (nor do they qualify as being
1478:, the two main characters each commit suicide at the sight of the supposedly dead lover, however the audience knows these actions to be rash and unnecessary. Therefore, Shakespeare makes for the emotional appeal for the unnecessary tragedy behind the young characters' rash interpretations about love and life.
760:
A character who expresses the questions and confusion of the audience, with whom the audience can identify. Frequently used in detective fiction and science fiction, where the character asks a central character how they accomplished certain deeds, for the purpose of inciting that character to explain
121:
The setting is both the time and geographic location within a narrative or within a work of fiction; sometimes, storytellers use the setting as a way to represent deeper ideas, reflect characters' emotions, or encourage the audience to make certain connections that add complexity to how the story may
300:
would eventually take over Middle Earth. However, Gollum celebrates too eagerly and clumsily falls into the lava, whereby the ring is destroyed and with it Sauron's power. In a way, Gollum does what Frodo and the
Fellowship of the Ring intended to do through the whole plot of the trilogy, which was
1662:
This discrepancy between expectation and reality occurs in three forms: situational irony, where a situation features a discrepancy between what is expected and what is actualized; dramatic irony, where a character is unaware of pivotal information already revealed to the audience (the discrepancy
641:
when Lord
Voldemort heard a prophecy (made by Sybill Trelawney to Dumbledore) that a boy born at the end of July, whose parents had defied Voldemort thrice and survived, would be made marked as his equal. Because of this prophecy, Lord Voldemort sought out Harry Potter (believing him to be the boy
1134:
the main character performs a couple of soliloquies with a heavy use of alliteration, e.g., "VoilĂ ! In view, a humble vaudevillian veteran, cast vicariously as both victim and villain by the vicissitudes of Fate. This visage, no mere veneer of vanity, is a vestige of the vox populi, now vacant,
373:
A narration might begin with a male character who has to break up a schoolyard fight among some boys who are vying for the attention of a girl, which was introduced to foreshadow the events leading to a dinner time squabble between the character and his twin brother over a woman, whom both are
642:
spoken of) and tried to kill him. His parents died protecting him, and when
Voldemort tried to cast a killing curse on Harry, it rebounded and took away most of his strength, and gave Harry Potter a unique ability and connection with the Dark Lord thus marking him as his equal.
228:
trilogy takes place in a relatively short period towards the end of the 3021-year Third Age, the narration gives glimpses of the mythological and historical events which took place earlier in the Third age leading up to the action in the novel, and in the First and Second Age.
831:
An author or character addresses the audience directly (also known as direct address). This may acknowledge to the reader or audience that what is being presented is fiction, or may seek to extend the world of the story to provide the illusion that they are included in
242:"Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it's not going to be fired, it shouldn't be hanging there." â âAnton Chekhov
337:
A scene that temporarily jumps the narrative forward in time. A flashforward often represents events expected, projected, or imagined to occur in the future. They may also reveal significant parts of the story that have not yet occurred, but soon will in greater
1549:: "A man who had been soaked in water, and smothered in mud, and lamed by stones, and cut by flints, and stung by nettles, and torn by briars; who limped, and shivered, and glared and growled; and whose teeth chattered in his head as he seized me by the chin."
1311:
When the boots came off his feet with a leathery squeak, a smell of ferment and fish market immediately filled the small tent. The skin of his toes were red and raw and sensitive. The malodorous air was so toxic he thought he could almost taste his toes.
1599:
The boot was tough and sinewy between his hard-biting teeth. There was no flavor to speak of except for the blandness of all the dirt that the boot had soaked up over the years. The only thing the boot reminded him of was the smell of a wet dog.
325:
tales begins with the discovery of a young woman's dead body. After the murderer later reveals himself, he narrates his reasons for the murder as a flashback of events leading up to the discovery of her dead body at the beginning of the story.
521:
A Rakugo is a
Japanese verbal entertainment usually lasting 30 minutes which ends with a surprise punch line, a narrative stunt known as ochi (fall) or sage (lowering). Twelve kinds of ochi are codified and recognized. The earlier
841:
often break the fourth wall when they address their viewers as part of the ongoing storyline, which is possible because of the high level of suspension of belief afforded by its audienceâchildren. The
English political drama show
281:, a climactic event through which the protagonist appears to be facing a catastrophic change. However, this change does not materialize and the protagonist finds themselves as the benefactor of such a climactic event; contrast
1041:. At one point Leopold Bloom saunters through Dublin musing on "Pineapple rock, lemon platt, butter scotch. A sugar-sticky girl shovelling scoopful of creams for a Christian brother. Some school treat. Bad for their tummies."
878:, when Gulliver visits the land of the giants and sees a giant woman's skin, he sees it as anything but smooth and beautiful when viewed up close. Another common method of defamiliarization is to "make strange" a story (
1148:
E.g., Original sentence: The thesis paper was difficult. After amplification: The thesis paper was difficult: it required extensive research, data collection, sample surveys, interviews and a lot of fieldwork.
1051:
A text written as if by an impersonal narrator who is not affected by the events in the story. Can be omniscient or limited, the latter usually being tied to a specific character, a group of characters, or a
896:
A text presented from the point of view of a character, especially the protagonist, as if the character is telling the story themselves. (Breaking the fourth wall is an option, but not a necessity, of this
991:
by
Vladimir Nabokov features literature professor John Shade, Charles Kinbote, a neighbor and colleague of Shade's and Charles the Beloved, king of Zembla. Kinbote is the ultimate unreliable commentator.
868:
Taking an everyday object and presenting it in a way that is weirdly unfamiliar so that we see the object in a new way. Coined by the early 20th-century
Russian literary critic Viktor Shklovsky in "Art as
984:
features
European literary critics, a Chilean philosophy professor, an African-American journalist, detectives investigating Santa Teresa murders and an obscure German writer named Benno Von Archimboldi.
968:
of multiple characters that incorporate various perspectives, emotions, and views from witnesses or actors to varying particular events or circumstances that might not be felt by other characters in the
1028:, characterized by leaps in syntax and punctuation that trace a character's fragmentary thoughts and sensory feelings. The outcome is a highly lucid perspective with a plot. Not to be confused with
1711:
among various incidents and frames of a story. In a skillfully crafted tale, thematic patterning may emphasize the unifying argument or salient idea that disparate events and frames have in common.
267:
ends with one of the characters in a predicament (about to be caught by thugs, about to be exposed by the authorities, or a family member or a friend finds out the main character's dirty secret).
608:
For example, in mystery fiction, an innocent party may be purposefully cast as highly suspicious through emphasis or descriptive techniques to divert attention from the true guilty party.
478:
starts in the middle of the sea voyage to India and contextualizes the beginning of said journey as well as
Portugal's history when the master of the ship tells an African king about it.
474:
of Homer are prime examples. The latter work begins with the return of
Odysseus to his home of Ithaca and then in flashbacks tells of his ten years of wandering following the Trojan War.
1471:
in rhetoric that the author uses to inspire pity or sorrow towards a characterâtypically does not counterbalance the target character's suffering with a positive outcome, as in Tragedy.
1248:
Representing an object or character with abundant descriptive detail, or mimetically rendering gestures and dialogue to make a scene more visual or imaginatively present to an audience.
1345:
Word or phrase in a figure of speech in which a noun is referenced by something closely associated with it, rather than explicitly by the noun itself. This is not to be confused with
1189:
An abrupt transition in style from the exalted to the commonplace, producing a ludicrous effect. While often unintended, bathos may be used deliberately to produce a humorous effect.
1179:
said on January 20, 1961 "...that we shall pay any price, bear any burden, meet any hardship, support any friend, oppose any foe to assure the survival and the success of liberty."
1172:
When sentences do not use conjunctions (e.g., and, or, nor) to separate clauses, but run clauses into one another, usually marking the separation of clauses with punctuation.
807:
Characters which are based on authors, usually to support their personal views. Sometimes an intentionally or unintentionally idealized version of them. A variation is the
715:
The narrator of the story is not sincere, or introduces a bias in their narration and possibly misleads the reader, hiding or minimizing events, characters, or motivations.
1145:
Amplification refers to a literary practice wherein the writer embellishes the sentence by adding more information to it in order to increase its worth and understanding.
1292:
Exaggeration used to evoke strong feelings or create an impression which is not meant to be taken literally. Hyperbole can be used for serious, ironic, or comic effects.
2012:
Robert Hartwell Fiske's Dictionary of Unendurable English: A Compendium of Mistakes in Grammar, Usage, and Spelling with commentary on lexicographers and linguists
364:
921:
uses this technique where the protagonist narrates the film's events throughout, providing clarity that could not be gained from the picture and dialogue alone.
553:". A locked chest found by a fisherman contains a dead body, and two different men claim to be the murderer, which turns out to be the investigator's own slave.
50:
uses, thus effectively relaying information to the audience or making the story more complete, complex, or engaging. Some scholars also call such a technique a
595:, the main character repeatedly finds himself under the obligation of having to travel back in time because of something his future character has done.
2069:
1162:
E.g., An anagram for "debit card" is "bad credit". As you can see, both phrases use the same letters. By mixing the letters a bit of humor is created.
1849:
Revisiting the Reading Workshop: A Complete Guide to Organizing and Managing an Effective Reading Workshop That Builds Independent, Strategic Readers
3575:
1536:
Polysyndeton is the use of several conjunctions in close succession. This provides a sense of exaggeration designed to wear down the audience.
2927:
931:
Describing events in a real-world setting but with magical trappings, often incorporating local customs and invented beliefs. Different from
1206:
by a double vertical line. This technique frequently occurs within a poetic line grammatically connected to the end of the previous line by
2151:
820:, it says, "no writing of Plato exists or ever will exist, but those now said to be his are those of a Socrates become beautiful and new".
761:(for the curious audience) his or her methods, or a character asking a relatively educated person to explain what amounts to the backstory.
1783:
The character flaw of an initially rich and powerful hero that leads to his tragic downfall. This is also referred to as the tragic flaw.
670:
series, the protagonist tells a story from his past to his companions, and in this story he tells another relatively unrelated story.
504:"Heart of the Ocean" necklace in James Cameron's 1997 Titanic, which essentially serves as an object to cause Rose to tell her story.
705:
is predicted to come sooner rather than later heightens the urgency and sense of immediacy felt by the characters and by the reader.
66:, though these can also broadly refer to non-narrative writing strategies, as might be used in academic or essay writing, as well as
3256:
1102:
The expression, by means of symbolic fictional figures and actions, of truths or generalizations about human conduct or experience
363:
Implicit yet intentional efforts of an author to suggest events that have yet to take place in the process of narration. See also
569:
coming up with a contraption to catch the Road Runner, only to be foiled and caught by his own devices. Each sin's punishment in
405:
1799:
Reflecting a character's (usually the protagonist) mood in the atmosphere or inanimate objects. Related to anthropomorphism and
239:
A dramatic principle that requires every element in a narrative to be substantive, with anything redundant or arbitrary removed.
2939:
2052:
2025:
1912:
1613:
The broken ends of the long bone were sticking through the bleeding skin, but it wasn't something that always killed a man.
1106:
787:, usually a contemporary human, giving the alien Doctor someone to explain situations to, for the benefit of the audience.
1278:"Is it not far better to abhor sins by the remembrance of others' faults, than by repentance of thine own follies?" (from
2268:
1766:
917:
3568:
566:
17:
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Time travel paradox where a time traveler is caught in a loop of events that "predestines" them to travel back in time
219:
Story that precedes events in the story being toldâpast events or background that add meaning to current circumstances
3342:
2922:
2129:
849:
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and its later American version, also use this technique frequently to let the viewers know what the main character
440:
347:
when Mr. Scrooge visits the ghost of the future. It is also frequent in the later seasons of the television series
180:
1305:
Forming mental images of a scene using descriptive words, especially making use of the human senses. The same as
1233:
Deliberately preventing the audience from identifying with characters in order to let them be coolly scrutinized.
1006:
844:
1856:
1683:
A person hears a prophecy about himself. His endeavor to stop the prophecy from coming true makes it come true.
1192:
The ballerina rose gracefully en pointe and extended one slender leg behind her, like a dog at a fire hydrant.
905:
698:
563:
Virtue ultimately rewarded, or vice punished, by an ironic twist of fate related to the character's own conduct
501:
Object required to initiate the plot or motivation of the characters, but having little significance by itself
3859:
3561:
3251:
2663:
1369:
Sally's pregnant belly most likely weighed as much as the scooter she used to ride before she got pregnant.
886:'s unfamiliar plotting, which causes the reader to pay attention to the story and see it in an unjaded way.
3520:
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1963:, 2nd ed., trans. Lee T. Lemon and Marion J. Reis (Lincoln, NE: University of Nebraska Press, 2012, 25â57.
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Sally could no longer hide her secret. Her pregnant belly was bigger than the planet on which she stood.
1253:
943:
854:
720:
184:(1966), the setting is crucial. The story begins in the Sudanese village of Wad Hamed before shifting to
2239:
2160:
675:
680:
Threat of impending disasterâoften used in thrillers where salvation and escape are essential elements
3369:
2633:
1125:
Repeating the same letter or consonant sound at the beginning of adjacent or closely connected words.
462:
This is used in epic poems, for example, where it is a mandatory form to be adopted. LuĂs de CamĂ”es'
1936:
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1140:
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613:
86:, which exist inherently in all works of narrative, rather than being merely optional strategies.
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3364:
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1019:
997:
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Socrates in the writings of Plato. Plato never speaks in his own voice in his dialogues. In the
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The narrative ends unresolved, to draw the audience back to a future episode for the resolution.
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2017:
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Alteration of time sequences, taking characters back to the beginning of the tale, for instance
1874:"Emotional Distance: Transnational Pleasure in Tayeb Salih's Season of Migration to the North"
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Beginning the story in the middle of a sequence of events. A specific form of narrative hook.
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A term made of two words that deliberately or coincidentally imply each other's opposite.
729:
710:
108:
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2010:
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Unexpected change ("twist") in the direction or expected outcome of the plot. See also
421:
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A main story that hatches a framing device, a story that is "framed" in the main story.
257:
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Using comparative metaphors and similes to give characteristics to abstract concepts.
1228:
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A break, especially a sense pause, usually near the middle of a verse, and marked in
1060:
is written in multiple limited third-person narrators that change with each chapter.
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Metonomy: The boxer threw in the towel. Synecdoche: She gave her hand in marriage.
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The author uses narrative and stylistic devices to create the sense of an unedited
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Using forms and styles from another author, generally as an affectionate tribute.
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at the end of the novel. In the last chapter, Sheppard describes how he was an
558:
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483:
321:
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54:, though this term can also more narrowly refer to the particular technique of
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882:) by creating a deformed plot (syuzhet). Tristram Shandy is defamiliarized by
83:
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Rearranging the letters of a word or a phrase to form a new phrase or word.
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to deliver a story. Other possible synonyms within written narratives are
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kills his own father because he does not understand his true parentage.
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2070:"The 25 Funniest Analogies (Collected by High School English Teachers)"
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An artificial, highly elaborate way of writing or speaking. Named from
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Story opening that "hooks" readers' attention so they will keep reading
144:
139:, over the course of a single day, 16 June 1904. The novel spans from
1959:
Victor Shklovsky, "Sterne's Tristram Shandy: Stylistic Commentary" in
1497:: "When well-appareled April on the heel / Of limping winter treads."
1002:
A text written in the style of a direct address, in the second-person.
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Any non-fiction book is often introduced with an interesting factoid.
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to throw the ring into the lake of fire in the heart of Mount Doom.
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A phrase that describes an idea composed of concepts that conflict.
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or Gary Stu, which primarily serves as an idealized self-insertion.
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A sudden interruption of the wordplay flow indicating the end of a
282:
172:, while other landmarks represent various episodes of the Odyssey.
116:
296:, Gollum forcibly takes away the Ring from Frodo, suggesting that
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Word that sounds the same as, or similar to what the word means.
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2212:"Personification - Examples and Definition of Personification"
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E.g., in "Know then thyself. â Presume not God to scan" (from
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Purposefully repeating words that usually express a motif or
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1632:, the final line is "Sincerely yours, The Breakfast Club".
1349:, in which a part of the whole stands for the thing itself.
509:
82:. Furthermore, narrative techniques are distinguished from
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Evoking imagination by means of using figurative language.
1362:
Exaggerating something, often for emphasis (also known as
1623:
Line of dialogue used to announce the name of the piece.
27:
List of methods used to convey information in a narrative
1707:
Distributing recurrent thematic concepts and moralistic
1411:"It was the best of times, it was the worst of times." (
1385:"Boom goes the dynamite." "Bang!" "Bark." (comic books)
935:
in that the magic itself is not the focus of the story.
618:
Prediction that, by being made, makes itself come true.
915:
is primarily told from Watson's perspective. The film
767:
in the Sherlock Holmes stories. Scott Evil, played by
605:
Diverting attention away from an item of significance.
2041:
Abrams, Meyer Howard; Harpham, Geoffrey Galt (2009).
1559:
The use of humor, irony or exaggeration to criticize.
1851:(illustrated ed.). Scholastic Inc. p. 89.
1752:
that applies human-like characteristics to animals.
1425:
Ridicule by overstated imitation, usually humorous.
1251:This technique appears at least as far back as the
2009:
526:was a short comical vignette ending with an ochi.
3851:
1697:Her tears were a river flowing down her cheeks.
1610:A diminishing or softening of a theme or effect.
909:uses the title character as the narrator, while
1592:Sight, sound, taste, touch, smell. The same as
1507:Words derived from the same root in a sentence.
2147:Story-Telling Techniques in the Arabian Nights
1539:An example of this is in the first chapter of
3569:
2262:
2040:
1816:, which mirrors Lear's mental deterioration.
2152:International Journal of Middle East Studies
2145:Heath, Peter (May 1994), "Reviewed work(s):
2117:
852:is thinking and planning. Ferris Bueller in
655:A story told within another story. See also
147:in the North, with detailed descriptions of
2236:Webster's Seventh New Collegiate Dictionary
1379:Words that imitate/spell a sound or noise.
3576:
3562:
2269:
2255:
2008:Fiske, Robert Hartwell (1 November 2011).
1115:with Aslan as Christ and Edmund as Judas.
576:is a symbolic instance of poetic justice.
2195:
1937:"Literature Glossary â Defamiliarization"
3583:
1961:Russian Formalist Criticism: Four Essays
1913:"Techniques and Tension in Breaking Bad"
1910:
1846:
2234:
2192:, 11th ed. (Boston: Cengage, 2015), 169
1972:
1236:Popularized by 20th century playwright
14:
3852:
2940:Types of fiction with multiple endings
693:, the main characters face increasing
635:. There is also an example of this in
255:Almost every episode of TV shows like
3557:
2250:
2144:
2007:
1871:
1282:, 1, lecture by the wise Neapolitan)
1108:The Lion, the Witch, and the Wardrobe
701:toward Australia. Learning that the
621:Early examples include the legend of
2067:
2188:M. H. Abrams and Geoffrey Harpham,
1467:Emotional appeal, one of the three
1445:Such as the many stories featuring
858:frequently addresses the audience.
724:. The novel includes an unexpected
24:
1568:. One of the earliest examples is
964:A narrative that is told from the
25:
3886:
3343:Third-person omniscient narrative
1911:Demchick, Harrison (2013-09-26).
151:locations that parallel those in
2094:"Style Live: Style Invitational"
2047:. Cengage Learning. p. 24.
1767:Alice's Adventures in Wonderland
1329:This dates back at least to the
954:'s work provides good examples.
441:Sophia de Mello Breyner Andresen
181:Season of Migration to the North
2204:
2182:
2138:
2111:
2086:
2061:
1890:10.13169/arabstudquar.40.3.0213
437:Fables of Conflict and Intrigue
2731:Conflict between good and evil
2034:
2001:
1977:
1966:
1953:
1929:
1904:
1865:
1840:
1491:Taken from Act I, Scene II of
906:Adventures of Huckleberry Finn
738:
13:
1:
2276:
2228:
1066:uses an omniscient narrator.
2190:A Glossary of Literary Terms
2118:Graham Allen (2 June 2004).
2044:A Glossary of Literary Terms
1724:
1271:(1579) the prose romance by
664:The Wind Through the Keyhole
447:(O cavaleiro da Dinamarca).
7:
3829:Articulation (sociological)
2240:G. & C. Merriam Company
1822:
1757:The Adventures of Pinocchio
721:The Murder of Roger Ackroyd
415:. More modern examples are
374:courting at the same time.
10:
3891:
2161:Cambridge University Press
1847:Orehovec, Barbara (2003).
1806:For example, the storm in
1792:
1776:
1741:
1730:
1700:
1687:
1655:
1644:
1616:
1603:
1585:
1552:
1529:
1500:
1481:
1460:
1435:
1418:
1401:
1388:
1372:
1355:
1338:
1315:
1298:
1285:
1260:
1243:
1226:
1195:
1182:
1165:
1152:
1138:
1118:
1095:
1084:
1076:
1044:
1017:
995:
957:
938:Particularly popular with
924:
889:
861:
823:
800:
755:
744:
708:
676:Ticking time bomb scenario
673:
645:
611:
598:
579:
556:
529:
507:
494:
481:
450:
377:
356:
329:
304:
270:
245:
232:
212:
201:
106:
95:
89:
3821:
3775:
3729:
3676:
3637:
3591:
3406:
3378:
3370:Stream of unconsciousness
3313:
3057:
2948:
2901:Falling action/Catastasis
2846:
2751:
2686:
2609:
2421:
2284:
2169:10.1017/s0020743800060633
2124:. Routledge. p. 29.
2068:Rose, Judy (2006-09-12).
1576:. The television program
771:, son of Dr. Evil in the
131:by James Joyce is set in
46:methods the creator of a
2738:Self-fulfilling prophecy
1834:
1714:Each of the chapters of
1638:
1141:Amplification (rhetoric)
1072:
1063:The Master and Margarita
855:Ferris Bueller's Day Off
614:Self-fulfilling prophecy
543:An early example is the
195:
3365:Stream of consciousness
2828:Suspension of disbelief
1764:or the Cheshire Cat of
1326:important to the story.
1020:Stream of consciousness
1007:Bright Lights, Big City
998:Second-person narration
918:The Wolf of Wall Street
391:Early examples include
168:serves as a modern-day
2906:Denouement/Catastrophe
2887:Rising action/Epitasis
1878:Arab Studies Quarterly
1245:Dramatic visualization
1057:A Song of Ice and Fire
1047:Third-person narration
944:Gabriel GarcĂa MĂĄrquez
892:First-person narration
582:Predestination paradox
365:repetitive designation
3252:Utopian and dystopian
1872:Murad, Rimun (2018).
445:The Knight of Denmark
294:The Lord of the Rings
225:The Lord of the Rings
3860:Narrative techniques
3585:Literary composition
2806:Narrative techniques
2586:Story within a story
2398:Supporting character
2016:. Scribner. p.
1526:, January 20, 1961.
1413:A Tale of Two Cities
649:Story within a story
384:story within a story
42:) is any of several
3834:Composition studies
3783:Creative nonfiction
3648:Linguistic contrast
3641: / devices
3511:Political narrative
3353:Unreliable narrator
3210:Speculative fiction
2918:Nonlinear narrative
2866:Three-act structure
2726:Deal with the Devil
2201:Heath (1994) p. 360
2149:by David Pinault",
2098:The Washington Post
1985:"Allegory Examples"
1808:William Shakespeare
1703:Thematic patterning
1469:modes of persuasion
1175:An example is when
730:unreliable narrator
711:Unreliable narrator
625:, and the story of
32:narrative technique
3489:Narrative paradigm
3484:Narrative identity
3414:Dominant narrative
3360:Multiple narrators
2644:Fictional location
2487:Dramatic structure
1629:The Breakfast Club
1570:Gulliver's Travels
1542:Great Expectations
1510:"Not as a call to
1451:Arthur Conan Doyle
1398:"terrible beauty"
1026:interior monologue
960:Multiperspectivity
875:Gulliver's Travels
835:The characters in
789:Dr. Jennifer Melfi
757:Audience surrogate
699:across the equator
662:In Stephen King's
435:update, subtitled
422:The Legend of Luke
84:narrative elements
60:literary technique
56:using a commentary
18:Literary technique
3847:
3846:
3839:Technical writing
3653:Literary contrast
3551:
3550:
3494:Narrative therapy
2928:television series
2873:Freytag's Pyramid
2716:Moral development
2619:Alternate history
2329:False protagonist
2054:978-1-4130-3390-8
2027:978-1-4516-5134-8
1820:
1819:
1722:
1721:
1669:Usage controversy
1636:
1635:
1524:Inaugural Address
1453:, or much of the
1229:Distancing effect
1070:
1069:
948:Jorge Luis Borges
864:Defamiliarization
736:
735:
344:A Christmas Carol
193:
192:
16:(Redirected from
3882:
3757:Rhetorical modes
3747:Grammatical mood
3701:Cut-up technique
3599:Characterization
3578:
3571:
3564:
3555:
3554:
3474:Literary science
3017:Narrative poetry
2913:Linear narrative
2823:Stylistic device
2818:Show, don't tell
2781:Figure of speech
2571:Shaggy dog story
2314:Characterization
2271:
2264:
2257:
2248:
2247:
2243:
2223:
2222:
2220:
2219:
2208:
2202:
2199:
2193:
2186:
2180:
2179:
2142:
2136:
2135:
2115:
2109:
2108:
2106:
2105:
2090:
2084:
2083:
2081:
2080:
2065:
2059:
2058:
2038:
2032:
2031:
2015:
2005:
1999:
1998:
1996:
1995:
1981:
1975:
1970:
1964:
1957:
1951:
1950:
1948:
1947:
1933:
1927:
1926:
1924:
1923:
1908:
1902:
1901:
1869:
1863:
1862:
1844:
1795:Pathetic fallacy
1744:Anthropomorphism
1729:
1728:
1718:by James Joyce.
1643:
1642:
1494:Romeo and Juliet
1476:Romeo and Juliet
1083:
1082:
1079:Figure of speech
803:Author surrogate
743:
742:
685:post-apocalyptic
551:The Three Apples
432:Kalila and Dimna
400:Kalila and Dimna
317:The Three Apples
279:J. R. R. Tolkien
200:
199:
143:in the South to
94:
93:
70:devices such as
40:fictional device
21:
3890:
3889:
3885:
3884:
3883:
3881:
3880:
3879:
3875:Style (fiction)
3850:
3849:
3848:
3843:
3822:Beyond the arts
3817:
3771:
3725:
3684:Writing process
3672:
3633:
3614:Fiction writing
3587:
3582:
3552:
3547:
3479:Literary theory
3419:Fiction writing
3402:
3374:
3309:
3061:
3053:
2944:
2842:
2747:
2682:
2605:
2476:Deus ex machina
2417:
2403:Title character
2388:Stock character
2334:Focal character
2280:
2275:
2238:, Springfield:
2231:
2226:
2217:
2215:
2210:
2209:
2205:
2200:
2196:
2187:
2183:
2143:
2139:
2132:
2116:
2112:
2103:
2101:
2092:
2091:
2087:
2078:
2076:
2074:Writing English
2066:
2062:
2055:
2039:
2035:
2028:
2006:
2002:
1993:
1991:
1983:
1982:
1978:
1971:
1967:
1958:
1954:
1945:
1943:
1935:
1934:
1930:
1921:
1919:
1917:Huffington Post
1909:
1905:
1870:
1866:
1859:
1845:
1841:
1837:
1825:
1750:personification
1727:
1675:, and the term
1641:
1547:Charles Dickens
1520:John F. Kennedy
1484:Personification
1449:not written by
1447:Sherlock Holmes
1307:sensory detail.
1216:An Essay on Man
1177:John F. Kennedy
1111:is a religious
1081:
1075:
927:Magical realism
912:Sherlock Holmes
884:Laurence Sterne
850:Frank Underwood
741:
518:or a kobanashi.
198:
186:London, England
166:7 Eccles Street
122:be interpreted.
92:
64:literary device
28:
23:
22:
15:
12:
11:
5:
3888:
3878:
3877:
3872:
3870:Poetic devices
3867:
3862:
3845:
3844:
3842:
3841:
3836:
3831:
3825:
3823:
3819:
3818:
3816:
3815:
3810:
3805:
3800:
3795:
3790:
3785:
3779:
3777:
3773:
3772:
3770:
3769:
3764:
3759:
3754:
3749:
3744:
3742:Writer's voice
3739:
3733:
3731:
3727:
3726:
3724:
3723:
3718:
3713:
3708:
3703:
3698:
3693:
3692:
3691:
3680:
3678:
3674:
3673:
3671:
3670:
3665:
3660:
3655:
3650:
3644:
3642:
3635:
3634:
3632:
3631:
3629:Writer's block
3626:
3621:
3616:
3611:
3606:
3601:
3595:
3593:
3592:General topics
3589:
3588:
3581:
3580:
3573:
3566:
3558:
3549:
3548:
3546:
3545:
3543:Verisimilitude
3540:
3535:
3530:
3525:
3524:
3523:
3513:
3508:
3507:
3506:
3496:
3491:
3486:
3481:
3476:
3471:
3470:
3469:
3459:
3458:
3457:
3448:
3446:Parallel novel
3443:
3442:
3441:
3436:
3431:
3416:
3410:
3408:
3404:
3403:
3401:
3400:
3395:
3390:
3384:
3382:
3376:
3375:
3373:
3372:
3367:
3362:
3357:
3356:
3355:
3350:
3345:
3335:
3330:
3325:
3319:
3317:
3311:
3310:
3308:
3307:
3306:
3305:
3300:
3290:
3289:
3288:
3283:
3278:
3273:
3268:
3267:
3266:
3261:
3260:
3259:
3254:
3249:
3239:
3234:
3229:
3228:
3227:
3217:
3207:
3202:
3197:
3196:
3195:
3190:
3180:
3175:
3170:
3165:
3160:
3155:
3150:
3145:
3140:
3135:
3130:
3125:
3120:
3115:
3110:
3105:
3100:
3095:
3090:
3088:Action fiction
3080:
3075:
3069:
3067:
3055:
3054:
3052:
3051:
3046:
3041:
3036:
3031:
3026:
3025:
3024:
3014:
3009:
3004:
3003:
3002:
2997:
2992:
2987:
2982:
2972:
2967:
2960:
2954:
2952:
2946:
2945:
2943:
2942:
2937:
2932:
2931:
2930:
2925:
2915:
2910:
2909:
2908:
2903:
2898:
2889:
2884:
2870:
2869:
2868:
2863:
2852:
2850:
2844:
2843:
2841:
2840:
2835:
2830:
2825:
2820:
2815:
2814:
2813:
2803:
2798:
2793:
2788:
2783:
2778:
2773:
2768:
2763:
2757:
2755:
2749:
2748:
2746:
2745:
2740:
2735:
2734:
2733:
2728:
2718:
2713:
2708:
2703:
2698:
2692:
2690:
2684:
2683:
2681:
2680:
2675:
2670:
2669:
2668:
2667:
2666:
2656:
2651:
2641:
2636:
2631:
2626:
2621:
2615:
2613:
2607:
2606:
2604:
2603:
2598:
2593:
2588:
2583:
2578:
2573:
2568:
2566:Self-insertion
2563:
2558:
2553:
2551:Poetic justice
2548:
2543:
2538:
2533:
2528:
2521:
2514:
2509:
2504:
2499:
2494:
2489:
2484:
2479:
2472:
2467:
2462:
2457:
2452:
2451:
2450:
2440:
2435:
2427:
2425:
2419:
2418:
2416:
2415:
2410:
2405:
2400:
2395:
2390:
2385:
2380:
2375:
2374:
2373:
2368:
2363:
2353:
2346:
2341:
2336:
2331:
2326:
2321:
2316:
2311:
2309:Character flaw
2306:
2301:
2296:
2290:
2288:
2282:
2281:
2274:
2273:
2266:
2259:
2251:
2245:
2244:
2230:
2227:
2225:
2224:
2203:
2194:
2181:
2137:
2130:
2121:Roland Barthes
2110:
2085:
2060:
2053:
2033:
2026:
2000:
1989:YourDictionary
1976:
1973:Webster (1969)
1965:
1952:
1928:
1903:
1884:(3): 213â232.
1864:
1857:
1838:
1836:
1833:
1832:
1831:
1824:
1821:
1818:
1817:
1804:
1797:
1791:
1790:
1784:
1781:
1775:
1774:
1753:
1746:
1740:
1739:
1736:
1733:
1726:
1723:
1720:
1719:
1712:
1705:
1699:
1698:
1695:
1692:
1686:
1685:
1680:
1671:section under
1660:
1654:
1653:
1650:
1647:
1640:
1637:
1634:
1633:
1624:
1621:
1615:
1614:
1611:
1608:
1606:Understatement
1602:
1601:
1597:
1590:
1588:Sensory detail
1584:
1583:
1574:Jonathan Swift
1562:An example is
1560:
1557:
1551:
1550:
1537:
1534:
1528:
1527:
1508:
1505:
1499:
1498:
1489:
1486:
1480:
1479:
1472:
1465:
1459:
1458:
1455:Cthulhu Mythos
1443:
1440:
1434:
1433:
1426:
1423:
1417:
1416:
1409:
1406:
1400:
1399:
1396:
1393:
1387:
1386:
1383:
1377:
1371:
1370:
1367:
1360:
1354:
1353:
1350:
1343:
1337:
1336:
1332:Arabian Nights
1327:
1320:
1314:
1313:
1309:
1303:
1297:
1296:
1293:
1290:
1284:
1283:
1276:
1265:
1259:
1258:
1254:Arabian Nights
1249:
1246:
1242:
1241:
1238:Bertolt Brecht
1234:
1231:
1225:
1224:
1221:Alexander Pope
1211:
1200:
1194:
1193:
1190:
1187:
1181:
1180:
1173:
1170:
1164:
1163:
1160:
1157:
1151:
1150:
1146:
1143:
1137:
1136:
1131:V for Vendetta
1126:
1123:
1117:
1116:
1105:C. S. Lewis's
1103:
1100:
1094:
1093:
1090:
1087:
1074:
1071:
1068:
1067:
1053:
1049:
1043:
1042:
1035:An example is
1033:
1022:
1016:
1015:
1003:
1000:
994:
993:
982:Roberto Bolano
970:
962:
956:
955:
952:Salman Rushdie
940:Latin American
936:
929:
923:
922:
898:
894:
888:
887:
870:
866:
860:
859:
845:House of Cards
833:
829:
822:
821:
812:
805:
799:
798:
762:
758:
754:
753:
750:
747:
740:
737:
734:
733:
718:An example is
716:
713:
707:
706:
681:
678:
672:
671:
660:
653:
652:(Hypodiegesis)
644:
643:
619:
616:
610:
609:
606:
603:
597:
596:
587:
584:
578:
577:
567:Wile E. Coyote
564:
561:
559:Poetic justice
555:
554:
546:Arabian Nights
541:
534:
528:
527:
519:
512:
506:
505:
502:
499:
493:
492:
489:
486:
484:Narrative hook
480:
479:
460:
457:
449:
448:
406:Arabian Nights
389:
386:
376:
375:
371:
361:
355:
354:
339:
335:
334:(or prolepsis)
328:
327:
322:Arabian Nights
315:The story of "
313:
310:
309:(or analepsis)
303:
302:
292:At the end of
290:
275:
269:
268:
253:
250:
244:
243:
240:
237:
231:
230:
220:
217:
211:
210:
207:
204:
197:
194:
191:
190:
123:
119:
105:
104:
101:
98:
91:
88:
52:narrative mode
26:
9:
6:
4:
3:
2:
3887:
3876:
3873:
3871:
3868:
3866:
3863:
3861:
3858:
3857:
3855:
3840:
3837:
3835:
3832:
3830:
3827:
3826:
3824:
3820:
3814:
3811:
3809:
3806:
3804:
3801:
3799:
3796:
3794:
3791:
3789:
3786:
3784:
3781:
3780:
3778:
3774:
3768:
3765:
3763:
3760:
3758:
3755:
3753:
3750:
3748:
3745:
3743:
3740:
3738:
3737:Writing style
3735:
3734:
3732:
3728:
3722:
3719:
3717:
3714:
3712:
3709:
3707:
3704:
3702:
3699:
3697:
3694:
3690:
3687:
3686:
3685:
3682:
3681:
3679:
3675:
3669:
3666:
3664:
3661:
3659:
3656:
3654:
3651:
3649:
3646:
3645:
3643:
3640:
3636:
3630:
3627:
3625:
3622:
3620:
3617:
3615:
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3012:Narrative art
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2525:KishĆtenketsu
2522:
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2518:In medias res
2515:
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2497:Foreshadowing
2495:
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2492:Eucatastrophe
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2131:1-134-50341-5
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2019:
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1990:
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1772:Lewis Carroll
1769:
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1762:Carlo Collodi
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1572:, written by
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1358:Overstatement
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1018:
1013:
1012:Jay McInerney
1009:
1008:
1004:
1001:
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990:
989:
983:
979:
975:
974:Robert Altman
972:The films of
971:
967:
963:
961:
958:
953:
950:. Elsewhere,
949:
945:
942:authors like
941:
937:
934:
933:urban fantasy
930:
928:
925:
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914:
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847:
846:
840:
839:
838:Sesame Street
834:
830:
828:
825:Breaking the
824:
819:
818:
817:Second Letter
813:
810:
806:
804:
801:
796:
795:
790:
786:
785:
780:
776:
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774:Austin Powers
770:
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723:
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695:radioactivity
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477:
473:
469:
465:
461:
458:
456:
455:
454:In medias res
451:
446:
442:
438:
434:
433:
428:
424:
423:
418:
417:Brian Jacques
414:
413:
412:The Decameron
408:
407:
402:
401:
396:
395:
390:
387:
385:
381:
378:
372:
370:
369:Chekhov's gun
366:
362:
360:
359:Foreshadowing
357:
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318:
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284:
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276:
274:
273:Eucatastrophe
271:
266:
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260:
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254:
251:
249:
246:
241:
238:
236:
235:Chekhov's gun
233:
227:
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221:
218:
216:
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208:
205:
202:
189:
187:
183:
182:
177:
171:
167:
163:
162:Leopold Bloom
159:
158:
154:
150:
146:
142:
138:
134:
130:
129:
124:
120:
118:
114:
111:as a form of
110:
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87:
85:
81:
77:
73:
69:
65:
61:
57:
53:
49:
45:
41:
37:
33:
19:
3638:
3533:Storytelling
3348:Subjectivity
3338:Third-person
3328:First-person
2962:
2805:
2771:Comic relief
2523:
2516:
2507:Flashforward
2474:
2448:Origin story
2430:
2393:Straight man
2348:
2235:
2216:. Retrieved
2214:. 2013-06-27
2206:
2197:
2189:
2184:
2156:
2150:
2146:
2140:
2120:
2113:
2102:. Retrieved
2100:. 1999-03-14
2097:
2088:
2077:. Retrieved
2073:
2063:
2043:
2036:
2011:
2003:
1992:. Retrieved
1988:
1979:
1968:
1960:
1955:
1944:. Retrieved
1940:
1931:
1920:. Retrieved
1916:
1906:
1881:
1877:
1867:
1848:
1842:
1811:
1765:
1755:
1715:
1668:
1664:
1627:
1593:
1582:is another.
1577:
1569:
1563:
1540:
1532:Polysyndeton
1523:
1515:
1511:
1492:
1475:
1430:MAD Magazine
1428:
1412:
1380:
1375:Onomatopoeia
1330:
1318:Leitwortstil
1306:
1268:
1252:
1214:
1129:
1128:In the film
1121:Alliteration
1112:
1107:
1061:
1055:
1036:
1030:free writing
1005:
986:
977:
916:
910:
904:
873:
853:
843:
836:
816:
794:The Sopranos
792:
782:
772:
719:
690:On the Beach
688:
667:
663:
647:
638:Harry Potter
636:
630:
590:
572:
544:
538:twist ending
523:
475:
471:
467:
463:
452:
444:
436:
430:
420:
410:
404:
398:
394:Panchatantra
392:
349:
342:
332:Flashforward
320:
293:
286:
264:Breaking Bad
262:
256:
223:
179:
173:
155:
126:
80:rhyme scheme
63:
59:
51:
44:storytelling
39:
31:
29:
3865:Narratology
3813:Short story
3604:Description
3538:Tellability
3504:Metafiction
3499:Narratology
3271:Theological
3163:Pop culture
3044:Short story
3022:Epic poetry
2743:Time travel
2556:Red herring
2541:Plot device
2512:Frame story
2465:Cliffhanger
2408:Tritagonist
2383:Protagonist
2163:: 358â360,
1829:Plot device
1667:). See the
1649:Definition
1089:Definition
872:In Swift's
869:Technique."
827:fourth wall
777:films. The
749:Definition
739:Perspective
657:frame story
632:Mahabharata
601:Red herring
476:The Lusiads
464:The Lusiads
427:Ramsay Wood
380:Frame story
248:Cliffhanger
206:Definition
176:Tayeb Salih
164:'s home at
100:Definition
3854:Categories
3808:Screenplay
3762:Stylistics
3721:Plagiarism
3696:Assemblage
3689:Prewriting
3639:Techniques
3619:Literature
3609:Exposition
3424:Continuity
3293:Nonfiction
3257:Underwater
3153:Picaresque
3128:Historical
3113:Epistolary
2985:Fairy tale
2896:Peripeteia
2878:Exposition
2634:Dreamworld
2576:Stereotype
2546:Plot twist
2294:Antagonist
2229:References
2218:2016-08-16
2104:2022-06-11
2079:2024-06-06
1994:2017-11-14
1946:2017-11-14
1941:shmoop.com
1922:2017-11-14
1858:0439444047
1801:projection
1619:Title drop
1579:South Park
1503:Polyptoton
1347:synecdoche
1208:enjambment
1077:See also:
966:viewpoints
901:Mark Twain
784:Doctor Who
769:Seth Green
765:Dr. Watson
726:plot twist
668:Dark Tower
592:Doctor Who
532:Plot twist
341:Occurs in
287:peripateia
277:Coined by
174:ÙAlso, in
145:Howth Head
125:The novel
34:(also, in
3315:Narration
3264:Superhero
3188:Chivalric
3173:Religious
3158:Political
3093:Adventure
3078:Biography
3000:Tall tale
2848:Structure
2833:Symbolism
2801:Narration
2701:Leitmotif
2629:Crossover
2624:Backstory
2581:Story arc
2531:MacGuffin
2502:Flashback
2443:Backstory
2319:Confidant
2299:Archenemy
2286:Character
2278:Narrative
2177:162223060
1898:0271-3519
1813:King Lear
1725:Character
1518:we are."
1516:embattled
1514:, though
1364:hyperbole
1288:Hyperbole
1273:John Lyly
1168:Asyndeton
1052:location.
988:Pale Fire
779:companion
697:drifting
666:, of the
524:kobanashi
497:MacGuffin
319:" in the
307:Flashback
215:Backstory
141:Sandycove
113:symbolism
72:assonance
3752:Register
3730:Features
3716:Pastiche
3706:Diegesis
3521:Glossary
3516:Rhetoric
3323:Diegesis
3303:Creative
3276:Thriller
3225:Southern
3143:Paranoid
3138:Nautical
3049:Vignette
3007:Gamebook
2975:Folklore
2882:Protasis
2761:Allegory
2706:Metaphor
2664:parallel
2659:universe
2639:Dystopia
2596:Suspense
2482:Dialogue
2470:Conflict
2378:Narrator
2350:Hamartia
1823:See also
1779:Hamartia
1748:Form of
1690:Metaphor
1652:Example
1438:Pastiche
1391:Oxymoron
1341:Metonymy
1263:Euphuism
1204:scansion
1113:allegory
1098:Allegory
1092:Example
897:format.)
809:Mary Sue
781:role in
752:Example
571:Dante's
470:and the
443:'s 1964
429:'s 2011
419:'s 1999
283:peripety
209:Example
117:allegory
103:Example
3711:Mimesis
3677:Methods
3451:Prequel
3407:Related
3393:Present
3286:Western
3242:Science
3215:Fantasy
3183:Romance
3133:Mystery
3118:Ergodic
3083:Fiction
3039:Parable
3034:Novella
2964:Fabliau
2935:Premise
2786:Imagery
2776:Diction
2654:country
2611:Setting
2591:Subplot
2413:Villain
2366:Byronic
1787:Oedipus
1716:Ulysses
1677:tragedy
1594:imagery
1565:Network
1404:Paradox
1301:Imagery
1280:Euphues
1269:Euphues
1198:Caesura
1155:Anagram
1038:Ulysses
683:In the
629:in the
627:Krishna
623:Oedipus
573:Inferno
472:Odyssey
466:or the
382:, or a
338:detail.
222:Though
157:Odyssey
153:Homer's
137:Ireland
128:Ulysses
109:Setting
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36:fiction
3803:Poetry
3658:Cliché
3624:Writer
3455:Sequel
3439:Retcon
3434:Reboot
3398:Future
3232:Horror
3220:Gothic
3205:Satire
3123:Erotic
2990:Legend
2892:Climax
2766:Bathos
2673:Utopia
2561:Reveal
2460:Cliché
2438:Action
2432:Ab ovo
2371:Tragic
2242:, 1969
2175:
2128:
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1896:
1855:
1738:Notes
1709:motifs
1665:tragic
1555:Satire
1512:battle
1463:Pathos
1421:Parody
1185:Bathos
969:story.
880:fabula
687:novel
549:tale "
516:rakugo
409:, and
298:Sauron
258:Dexter
170:Ithaca
149:Dublin
133:Dublin
68:poetic
3798:Novel
3788:Essay
3776:Forms
3668:Trope
3663:Idiom
3462:Genre
3429:Canon
3380:Tense
3298:Novel
3281:Urban
3193:Prose
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3103:Crime
3098:Comic
3059:Genre
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2958:Drama
2923:films
2753:Style
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2688:Theme
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2173:S2CID
2159:(2),
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3767:Tone
3467:List
3388:Past
3247:Hard
3200:Saga
3108:Docu
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2995:Myth
2950:Form
2838:Tone
2811:Hook
2796:Mood
2791:Mode
2649:city
2536:Pace
2423:Plot
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2356:Hero
2339:Foil
2126:ISBN
2049:ISBN
2022:ISBN
1894:ISSN
1853:ISBN
978:2666
946:and
510:Ochi
439:and
367:and
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261:and
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2856:Act
2165:doi
1886:doi
1810:'s
1770:by
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1545:by
1474:In
1219:by
1010:by
980:by
903:'s
832:it.
791:in
589:In
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