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| Refers to language that describes concepts rather than concrete images. |
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| Repetition of consonant sounds at the beginning of words that are the same or are close to one another. (Mickey Mouse, Donald Duck) |
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| A reference to a well-known person, place, or thing from literature. (Eden as in "East of Eden") |
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| A comparison of two similar but different things, usually to clarify an action or relationship. (Comparing the heart to a pump) |
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| A short, simple narrative of an incident; often used for humorous effect, or to make a point. |
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| Explanatory notes added to a text to explain, cite sources, or give bibliographical data. |
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| Repetition of vowel sounds between different consonants, such as in nay/fade. |
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| Descriptive writing that greatly exaggerates a specific feature of a person's apearance of personality. |
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| A word or phrase used in everyday conversation and informal writing, but that is often inappropriate for formal writing. |
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| Quality of a piece of writing in which all the parts contribute to the development of the central idea, theme, or organizing principle. |
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| Language that describes specific, observable things, people, or places, rather than ideas or qualities. |
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| Implied or suggested meaning of a word because of its association in the reader's mind. |
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| Repetition of identical consonant sounds within two or more words in close proximity, such as boost/best; it can also be seen within several compound words, such as fulfill and ping-pong. |
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| Literal meaning of a word as defined. Dictionary definition. |
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| Word choice, an element of style; creates tone, attidtude, and style, also meaning. |
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| Harsh or grating sounds that do not go together. |
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| When a writer appeals to readers' emotions (often through pathos) to excite and involve them in the argument. |
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| When a writer tries to persuade readers to respect and believe him/her based on a presentation of image of self through the text. Sometimes reputation is a factor, but in all cases the aim is to gain the reader's confidence. |
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| A more acceptable and usually more pleasant way of saying something that might be inappropriate or uncomfortable. (He went to his final reward; Collateral damage) |
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| An individual instance taken to be representative of a general pattern. Arguing by example is considered reliable if examples are demonstrably true or factual as well as relevant. |
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| A sustained comparison, often referred to as a conceit. It is developed throughout a piece of writing. |
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| Language that contains figures of speech, such as similes and metaphors, in order to create associations that are imaginative rather than literal. |
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| Expressions, such as similes, metaphors, and personifications, that make imaginative, rather than literal, comparisons or associations. |
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| The use of a hint or clue to suggest a larger event that occurs late in the work. |
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| When a writer bases a claim upon an isolated example or asserts that a claim is certain rather than probable. Sweeping generalizations occur when a writer asserts that a claim applies to all instances instead of some. |
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| A type of literary work, such as a novel of poem; there are also subgenres, such as science fiction novels and sonnets, within the larger genres. |
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| Anything which causes laughter or amusement; up until the end of the Renaissance, humore meant a person's temperament. |
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| Deliberate exaggeration in order to create humor or emphasis. (He was so hungry he could have eaten a horse) |
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| A word or words, either figurative or literal, used to describe a sensory experience or an object perceived by the senses. An image is always a concrete representation. |
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| Word or phrases that use a collection of images to appeal to one or more of the five senses in order to create a mental picture. |
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| A conclusion one can draw from the details presented in a work. |
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| Reversing the customary (subject first, then verb, then compliment) order of elements in a sentence or phrase; it is used effectively in many cases. Usually, the element that appears first is emphasized more than the subject. |
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| A situation or statement in which the actual outcome or meaning is opposite to what is expected. |
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| The special language of a profession or group. The term jargon usually has pejorative associations, with the implication that jargon is evasive, tedious, and unintelligible to outsiders. The writings of the lawyer and the literary critic are both susceptible to jargon. |
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| When a writer appeals to the reader's reasoning (often through logic) to see the validity of the writer's argument. |
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| Songlike; characterized by emotions, subjectivity, and imagination. |
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| A figure of speech in which one thing is referred to as another; for example, "my love is a fragile flower." |
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| Similar to tone, mood is the primary emotional attitude of a work; the feeling of a work; the atmosphere. Syntax is also a determiner of mood because the sentence strength, length, and complexity affect pacing. |
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| The lesson drawn from a story. It can also mean a heavily didactic story. |
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| When the reader is aware of an inconsistency between a fictional or nonfictional character's perception of a situation and the truth of the situation. |
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