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| A comparison between two unlike things using the words like or as |
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the comparison of two unlike things using verbs such as is, was, etc... Example: Johnny was a tree planted firmly in the face of adversity. |
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a word that is pronounced the same as the sound made Examples: swoosh, bang, pop, crackle, sizzle, etc... |
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repetition of the initial consonant sound Examples: The slippery, slithering snake slipped silently through the grass. |
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| the overall feeling/atmosphere of the poem (sadness, happiness, gloom, mystery, etc…) |
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| the time, place, and duration of a literary work |
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| the use of clues to hint at a coming event in a literary work |
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the contrast between - expectation and reality - what is said and what is really meant - what appears to be true and what really is true |
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| anyone or anything that is a part of the plot’s development |
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the character who represents evil in a literary work; he/she is in direct conflict with the protagonist |
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| the character who represents good in a literary work |
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| a character who remains basically the same throughout a literary work |
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| a character who changes throughout a literary work |
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the way an author presents a character and reveals character traits - what a character says - what a character thinks - what a character does - how a character responds to other characters |
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a specific language used by a particular group Examples: "ya’ll" for "you all" "at a boy" for "that’s a boy" "young un" for "young one" |
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| the author comes out and tells us directly about a character |
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| indirect characterization |
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| the author lets the reader decide for himself by allowing the reader to watch the character’s actions and listen to what the character says |
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| the sequence of events in a written work |
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the beginning/introduction of a literary work; the first step in plot development |
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the point where the author grabs the reader’s attention |
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the point in the plot's development where conflicts arise and build |
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| the highest point of interest in a literary work |
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a direct result of the climax, leading to a solution to the conflict |
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the final solution; where conflicts are resolved in a literary work |
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| the struggle between two or more opposing forces |
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| a struggle within oneself (usually a decision to make; a choice to be made) |
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| an outward struggle against some force |
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| types of external conflict |
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Man vs. Man (another character)
Man vs. Nature (tornado, hurricane, flood, etc…)
Man vs. Society (laws, rules, guidelines)
Man vs. Supernatural (fictional characters)
Man vs. Technology (computers, ATMs, etc…) |
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| the view point from which the story is being told (who is telling the story) |
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| first person point of view |
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| a character in the story is actually telling the story himself/herself |
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| third person point of view |
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| someone on the outside is looking in and telling the story as he/she sees it unfold. |
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| the conversation between two or more characters in a story or drama |
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| the main idea the author is trying to get across in a written work |
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| anything that can be proven |
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| can not necessarily be proven; varies from person to person |
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| the manner in which text is written (10 basic ways) |
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| information is simply listed - one idea after another (bullets, numbers, etc...) |
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| two things are examined for similarities and differences |
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| when one thing is the result of another |
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| the definition or explanation of a word follows that word itself |
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| information is given in a step-by-step technique; (like directions or a recipe) |
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| – information is given in a basic, general narrative way |
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| a brief statement telling what a longer work is about |
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| a first-hand account (witness) |
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| encyclopedias, books, magazines, etc...are not only resources but are these |
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when words say one thing (figuratively) but literally mean another Examples: Shake a leg - hurry up Beat around the bush - avoing the point Achille's heel - weakness; flaw;fault Straight from the shoulder - frankly; honestly |
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| word relationships (big : small :: short : tall) |
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a figure of speech using the intentional, extreme exaggeration for effect (I’m so hungry
I could eat a horse.) |
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a figure of speech that applies human characteristics to non-human objects. (Ex.
The leaves danced in the cool morning breeze.) |
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| words at the ends of lines that sound alike; used in poetry for effect |
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| the recurring pattern of strong and weak syllable stresses |
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| a fixed pattern of accented and unaccented syllables in line of fixed length to create rhythm |
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| repeated use of sounds, words, or ideas for effect and emphasis |
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repetition of the same vowel sounds in different words, e.g., I’m glad you were mad and
had a bad day. |
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| the repetition of final consonant sounds, e.g., church, bench, finch, lynch, lunch. |
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| the use of vivid words to create sensory impressions for the reader |
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| red, silky, dew-covered, rosey |
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| sputtering, tapping, clanking, jingling |
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| garlic, onions, smokey, pungent |
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| spicy, tangy, salty, hot, sweet, and sour |
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| coarse, gritty, silky, and velvety |
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| a dictionary of synonyms and antonyms |
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| found at the front of a book; lists chapters and page numbers |
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a mini dictionary found at the back of book, containing only words found in that
particular book |
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the part of the book – usually near the end - that contains extra information e.g., charts,
graphs, pictures |
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| an alphabetical listing of topics – with their page numbers |
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| a literary work that is made up; created in someone’s mind; not based entirely on truth |
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| made up but based on actual historical events |
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| made up but believable; could really have happened |
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| made up and based on scientific events and theories |
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literary works that are based on true information; not made up
- essays
- biographies
- autobiographies
- news articles
- resource materials e.g., encyclopedia articles, Internet research articles |
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| a fictional work of a longer length, usually read during the course of several sittings, e.g., Shiloh, Where the Red Fern Grows |
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| a story that is composed orally and then passed on by word of mouth; handed down from one generation to the next; often dealing with heroes, magic, adventure, or romance - Purpose is purely entertainment |
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come out of the oral tradition of the American frontier; typically involve
characters with highly exaggerated abilities and qualities e.g., Johnny
Appleseed, John Henry, Paul Bunyon |
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| fictional works that explain the actions of gods or heroes or the origins of elements of nature. (Greek and Roman Mythology), e.g., Zeus, Apollo, Hercules, Icarus and Daedalus |
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widely-told stories about the past that may or may not be factual;
every culture has its own legends – its familiar, traditional stories |
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| a brief story or poem usually containing animal characters and teaches a lesson or moral, e.g., Aesop’s Fables – “The Boy Who Cried Wolf”, “The Dog and the Bone”, and “The Fox and the Grapes” |
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| plays consisting of one or more acts, meant to be acted out by characters or read by individuals portraying those characters, e.g., “The Christmas Carol” by Charles Dickens |
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| a non-fiction writing based on one’s own personal experiences, e’g., “Kilamanjaro” and “The Night the Bed Fell” |
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| a written account of an individual’s life written by someone else |
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| a written account of an individual’s life written by that person himself/herself |
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| writer's / author's purpose |
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a writer's intention for writing
- to entertain
- to inform
- persuade |
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techniques used in the media especially to persuade individuals or groups
to see things a certain way. |
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the persuasive technique that creates a negative attitude; hinting or implying; using loaded,
emotional, or slanted language with the deliberate intent of provoking or hurting others |
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| the persuasive technique that tells only part of the truth; generalizing from a shred of evidence, not using all information needed (the "glamour" of cigarettes but not the lung cancer, for example) |
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| the persuasive technique that creats a desire to join a large group satisfied with the idea; making one feel left out if not with the crowd. (“Everybody else is doing it” mentality) |
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| the persuasive technique that uses the declaration of a famous person or authoritative expert to give heightened credibility to a product or idea |
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appeal to prestige, appeal to snobbery, or appeal to plain folks |
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the persuasive techniques that use a spokesperson who appeals to and who can relate to a particular audience (rich, poor, educated, etc...) |
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| the persuasive technique that connects with emotions; loyalty, pity, or fear; love of family, peace, or justice |
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making judgments or drawing conclusions based on what an author has implied, not
what is actually known to be truth |
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shows an author’s personality, awareness of audience, and passion for his or her subject. It
adds liveliness and energy to writing |
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| a 17-syllable delicate, unrhymed Japanese verse, usually about nature |
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| a 5-line, rhymed, rhythmic verse usually humorous |
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| a songlike narrative poem usually featuring rhyme, rhythm, and refrain (repeated verse)Often tells a sad story. |
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| poetry with neither regular meter nor a rhyme scheme |
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| a stanza containing four lines |
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| used to enrich text by use of specific words, images, and figures of speech |
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| the immediate repetition of the last word or phrase in a sentence or clause; Ex. "I was totally exhausted - exhausted to the point of absolute collapse. |
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| word choice used in both speaking and writing |
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| a writer's or speaker's attitude toward a subject (disdain, pleasure, agreement, fear, awe) Ex. - Menacing black waves rolled in relentlesslly OR Powerful breakers rolled in majestically. |
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| used to organize ideas and information in a non-narrative way; (Thinking Maps and Venn Diagrams, for example) |
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a combination of opposite or incongruous
words working together
for example -
big little
muffled roar
cruel kindness
deafening silence |
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| a character who is well developed by the author and who many characteristics |
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a character who is not very well developed;
has few identifiable characterics |
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| the text structure that poses questions followed by the author proceeding to explain or to answer those questions |
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| third person omniscient point of view |
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| the narrator tells the story, able to tell what characters do, say, feel and think |
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third person limited
point of view |
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| the narrator relates the events of the story through the actions and inner thoughts of only one main character |
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| the lesson taught by a literary work |
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