Literary devices list searches often produce definitions that students can recite but cannot use in analysis. Knowing that a metaphor is a comparison is not enough. The student must be able to identify what is being compared, explain the association created, connect the device to tone, character, theme or viewpoint, and judge why the writer chose that technique in this context.

This literary devices list gives 60 analytical terms with original examples so students can practise recognition without borrowing copyrighted passages. It is designed for Secondary English, IGCSE First Language English, IB English A and any course where students need to discuss how writers create effects. The terms range from figurative language and sound to narrative structure, syntax, rhetoric, imagery and point of view.

Cambridge IGCSE First Language English 0500 explicitly requires learners to recognise and respond to linguistic devices, figurative language and imagery, while IB Language A courses develop close textual analysis and attention to interactions between text, audience and purpose. Use this page as a vocabulary bridge into that analytical work. See the Cambridge IGCSE 0500 page and the IB Language A: Language and Literature overview.

Quick Read

• 60 literary and rhetorical terms with original examples.
• Every term needs identification + effect + context, not definition alone.
• Use precise analytical verbs: suggests, reinforces, contrasts, foregrounds, destabilises.
• Do not label a device unless it changes your reading of the passage.
• Original examples below are written for practice and are not quotations from published works.

60 literary devices with original examples

1. metaphor

Definition: An implied comparison that transfers qualities from one thing to another.

Original example: The city was a furnace by noon.

Analysis move: Do not stop at “the writer uses metaphor”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

2. simile

Definition: An explicit comparison, often using like or as.

Original example: Her apology hung between us like a damp coat.

Analysis move: Do not stop at “the writer uses simile”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

3. personification

Definition: Human qualities are attributed to non-human things.

Original example: The shutters complained in the wind.

Analysis move: Do not stop at “the writer uses personification”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

4. hyperbole

Definition: Deliberate exaggeration for emphasis or comic/dramatic effect.

Original example: I had waited a thousand years for the lift.

Analysis move: Do not stop at “the writer uses hyperbole”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

5. understatement

Definition: Deliberately minimising something for irony, restraint or emphasis.

Original example: The flooded corridor was a little inconvenient.

Analysis move: Do not stop at “the writer uses understatement”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

6. irony

Definition: A contrast between expectation and reality or stated and intended meaning.

Original example: The fire-safety poster peeled beside the smoking socket.

Analysis move: Do not stop at “the writer uses irony”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

7. verbal irony

Definition: Words communicate a meaning different from their literal surface.

Original example: ‘Perfect timing,’ she said as the bus disappeared.

Analysis move: Do not stop at “the writer uses verbal irony”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

8. situational irony

Definition: The outcome contradicts reasonable expectation.

Original example: The locksmith locked his own keys inside the shop.

Analysis move: Do not stop at “the writer uses situational irony”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

9. dramatic irony

Definition: The reader or audience knows more than a character.

Original example: The audience knows the letter is forged while the character trusts it.

Analysis move: Do not stop at “the writer uses dramatic irony”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

10. symbolism

Definition: An object, image or action carries meaning beyond itself.

Original example: The cracked watch remained in his pocket after the argument.

Analysis move: Do not stop at “the writer uses symbolism”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

11. motif

Definition: A recurring element develops an idea or pattern.

Original example: Images of closed doors recur whenever the narrator avoids difficult choices.

Analysis move: Do not stop at “the writer uses motif”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

12. imagery

Definition: Sensory detail creates a vivid mental experience.

Original example: Steam blurred the glass while chilli and smoke stung the air.

Analysis move: Do not stop at “the writer uses imagery”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

13. visual imagery

Definition: Imagery primarily involving sight.

Original example: Neon signs trembled in the rain-dark window.

Analysis move: Do not stop at “the writer uses visual imagery”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

14. auditory imagery

Definition: Imagery primarily involving sound.

Original example: Cutlery clattered behind the shutters.

Analysis move: Do not stop at “the writer uses auditory imagery”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

15. tactile imagery

Definition: Imagery involving touch and texture.

Original example: The railing felt grainy with rust.

Analysis move: Do not stop at “the writer uses tactile imagery”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

16. olfactory imagery

Definition: Imagery involving smell.

Original example: A sour chemical smell drifted from the storeroom.

Analysis move: Do not stop at “the writer uses olfactory imagery”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

17. gustatory imagery

Definition: Imagery involving taste.

Original example: The tea left a bitter, metallic taste.

Analysis move: Do not stop at “the writer uses gustatory imagery”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

18. alliteration

Definition: Repeated initial consonant sounds.

Original example: Cold concrete corridors curved ahead.

Analysis move: Do not stop at “the writer uses alliteration”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

19. assonance

Definition: Repeated vowel sounds within nearby words.

Original example: Low roads rolled homeward.

Analysis move: Do not stop at “the writer uses assonance”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

20. consonance

Definition: Repeated consonant sounds within or at ends of words.

Original example: The cracked lock clicked shut.

Analysis move: Do not stop at “the writer uses consonance”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

21. onomatopoeia

Definition: A word imitates or evokes a sound.

Original example: The loose sign clanged against the post.

Analysis move: Do not stop at “the writer uses onomatopoeia”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

22. sibilance

Definition: Repeated sibilant sounds such as s or sh.

Original example: Soft shoes slid across the silent floor.

Analysis move: Do not stop at “the writer uses sibilance”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

23. plosive sounds

Definition: Repeated hard consonants such as b, p, t or k can create percussive effect.

Original example: Bright bags bumped against the bench.

Analysis move: Do not stop at “the writer uses plosive sounds”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

24. rhythm

Definition: Pattern of stressed and unstressed sounds or sentence movement.

Original example: Short stressed clauses accelerate the description of the chase.

Analysis move: Do not stop at “the writer uses rhythm”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

25. rhyme

Definition: Repeated end or internal sounds create pattern and emphasis.

Original example: Two line endings echo in sound.

Analysis move: Do not stop at “the writer uses rhyme”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

26. repetition

Definition: Repeating a word, phrase, sound or structure for emphasis or pattern.

Original example: ‘Wait,’ she said. ‘Wait.’

Analysis move: Do not stop at “the writer uses repetition”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

27. anaphora

Definition: Repetition at the beginnings of successive clauses.

Original example: We waited for the call. We waited for the door. We waited for morning.

Analysis move: Do not stop at “the writer uses anaphora”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

28. epistrophe

Definition: Repetition at the ends of successive clauses.

Original example: He wanted answers now, apologies now, action now.

Analysis move: Do not stop at “the writer uses epistrophe”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

29. parallelism

Definition: Repeating grammatical structures creates balance or emphasis.

Original example: She wanted to listen, to learn and to leave better prepared.

Analysis move: Do not stop at “the writer uses parallelism”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

30. tricolon

Definition: A three-part structure often creates rhythm and completeness.

Original example: He paused, listened, decided.

Analysis move: Do not stop at “the writer uses tricolon”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

31. asyndeton

Definition: Conjunctions are omitted to accelerate rhythm or compress action.

Original example: He grabbed his bag, ran downstairs, crossed the road.

Analysis move: Do not stop at “the writer uses asyndeton”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

32. polysyndeton

Definition: Repeated conjunctions can slow rhythm or accumulate detail.

Original example: We packed and waited and checked and waited again.

Analysis move: Do not stop at “the writer uses polysyndeton”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

33. juxtaposition

Definition: Placing contrasting elements side by side invites comparison.

Original example: A wedding procession passed the shuttered hospital entrance.

Analysis move: Do not stop at “the writer uses juxtaposition”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

34. contrast

Definition: Differences are highlighted to create meaning.

Original example: The public speech was confident; the private message was hesitant.

Analysis move: Do not stop at “the writer uses contrast”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

35. oxymoron

Definition: Apparently contradictory words are combined.

Original example: deafening silence

Analysis move: Do not stop at “the writer uses oxymoron”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

36. paradox

Definition: A seeming contradiction reveals a deeper truth or tension.

Original example: To protect his independence, he had to ask for help.

Analysis move: Do not stop at “the writer uses paradox”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

37. antithesis

Definition: Contrasting ideas are placed in balanced structure.

Original example: She wanted certainty; he preferred possibility.

Analysis move: Do not stop at “the writer uses antithesis”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

38. euphemism

Definition: A softer expression replaces a harsher or more direct one.

Original example: ‘We are restructuring’ replaced ‘we are cutting jobs’.

Analysis move: Do not stop at “the writer uses euphemism”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

39. dysphemism

Definition: Deliberately harsh or disparaging wording.

Original example: Calling a modest proposal a ‘disaster’.

Analysis move: Do not stop at “the writer uses dysphemism”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

40. semantic field

Definition: A cluster of related vocabulary creates a conceptual field.

Original example: Words of machinery—gears, pressure, friction—shape the description of office life.

Analysis move: Do not stop at “the writer uses semantic field”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

41. connotation

Definition: Associations beyond a word’s literal meaning.

Original example: ‘Home’ can suggest safety, belonging or constraint depending on context.

Analysis move: Do not stop at “the writer uses connotation”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

42. denotation

Definition: The direct dictionary meaning of a word.

Original example: ‘Bridge’ literally denotes a structure crossing an obstacle.

Analysis move: Do not stop at “the writer uses denotation”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

43. register

Definition: Language level changes according to context, audience and purpose.

Original example: A formal complaint uses different vocabulary from a message to a friend.

Analysis move: Do not stop at “the writer uses register”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

44. diction

Definition: Word choice and its effects.

Original example: The writer chooses clipped, technical verbs throughout the report.

Analysis move: Do not stop at “the writer uses diction”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

45. syntax

Definition: Arrangement of words and clauses creates emphasis or pace.

Original example: The writer delays the main clause until the final line.

Analysis move: Do not stop at “the writer uses syntax”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

46. short sentence

Definition: A brief sentence can isolate, accelerate or intensify a moment.

Original example: Stop.

Analysis move: Do not stop at “the writer uses short sentence”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

47. minor sentence

Definition: An incomplete sentence can imitate speech, thought or abrupt judgement.

Original example: No chance.

Analysis move: Do not stop at “the writer uses minor sentence”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

48. periodic sentence

Definition: The main clause is delayed to build suspense or complexity.

Original example: After the alarms, the rumours and the long delay, the doors finally opened.

Analysis move: Do not stop at “the writer uses periodic sentence”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

49. cumulative sentence

Definition: A main clause is followed by accumulating detail.

Original example: The doors opened, releasing commuters, umbrellas and impatient voices.

Analysis move: Do not stop at “the writer uses cumulative sentence”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

50. rhetorical question

Definition: A question is posed for persuasive or reflective effect rather than an answer.

Original example: What would any of us have done differently?

Analysis move: Do not stop at “the writer uses rhetorical question”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

51. direct address

Definition: The writer speaks directly to the reader or audience.

Original example: You can see the problem before the first page ends.

Analysis move: Do not stop at “the writer uses direct address”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

52. inclusive pronoun

Definition: Pronouns such as we or our create shared identity or responsibility.

Original example: We all depend on systems we rarely notice.

Analysis move: Do not stop at “the writer uses inclusive pronoun”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

53. imperative

Definition: A command can direct attention or create urgency.

Original example: Look again at the final image.

Analysis move: Do not stop at “the writer uses imperative”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

54. modal verb

Definition: Modals express possibility, obligation, prediction or certainty.

Original example: The policy may reduce costs but could create new risks.

Analysis move: Do not stop at “the writer uses modal verb”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

55. foreshadowing

Definition: Early detail hints at later events.

Original example: The narrator notices the loose railing long before it fails.

Analysis move: Do not stop at “the writer uses foreshadowing”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

56. flashback

Definition: The narrative moves back to an earlier time.

Original example: The smell of chalk returns the narrator to a classroom twenty years earlier.

Analysis move: Do not stop at “the writer uses flashback”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

57. in medias res

Definition: The narrative opens inside ongoing action.

Original example: The story begins with the character already running from the station.

Analysis move: Do not stop at “the writer uses in medias res”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

58. first-person narration

Definition: A narrator uses I/we, creating a particular access to viewpoint.

Original example: I kept the envelope unopened for three days.

Analysis move: Do not stop at “the writer uses first-person narration”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

59. third-person limited

Definition: Narration follows the perceptions of one character closely.

Original example: She watched the crowd, unaware of what was happening behind her.

Analysis move: Do not stop at “the writer uses third-person limited”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

60. unreliable narrator

Definition: The narrator’s account cannot be fully trusted.

Original example: The narrator insists he never lies while repeatedly contradicting earlier details.

Analysis move: Do not stop at “the writer uses unreliable narrator”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

61. free indirect discourse

Definition: Third-person narration blends with a character’s thought and idiom.

Original example: Why had they invited him anyway? The room was already unbearable.

Analysis move: Do not stop at “the writer uses free indirect discourse”. Identify the exact word, sound, comparison, structure or viewpoint choice; explain what association it creates; then connect that effect to character, tone, theme, audience or purpose. If the device does not materially change interpretation, it may not deserve a paragraph.

The four-part analytical sentence

Feature → evidence → effect → significance. Example: “The repeated imperative ‘look’ directs the reader’s attention, creating a controlling voice that reinforces the speaker’s authority.” The label is only the first step. The marks come from the explanation of how language produces meaning.

Students can extend this into evaluation by asking why this choice is more effective than a neutral alternative. What would change if the writer removed the repetition, softened the modal verb or shifted the viewpoint? Comparative rewriting makes literary terminology functional.

The Fencing Method: devices students often confuse

metaphor / symbolism

A metaphor creates comparison at the level of language; symbolism gives an object or image broader significance across context.

imagery / description

Description names detail broadly; imagery specifically appeals to sensory experience.

irony / sarcasm

Irony is a broader contrast between surface and underlying meaning or expectation; sarcasm is a sharper, often mocking form of verbal irony.

alliteration / consonance

Alliteration repeats initial consonant sounds; consonance can repeat consonant sounds in other positions.

anaphora / repetition

Anaphora is repetition specifically at the beginning of successive clauses; repetition is the broader category.

juxtaposition / contrast

Juxtaposition places things side by side; contrast is the difference the placement reveals.

foreshadowing / flashback

Foreshadowing hints forward; flashback moves the narrative backwards in time.

unreliable narrator / biased narrator

Unreliability raises doubts about accuracy or truthfulness; bias concerns perspective or preference and does not automatically make the account factually unreliable.

tone / mood

Tone concerns the writer or speaker’s attitude; mood is the atmosphere or emotional effect created for the reader.

diction / register

Diction is word choice; register is the broader language level shaped by audience, context and purpose.

Analytical verbs that improve device paragraphs

1. suggests

Use suggests only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

2. implies

Use implies only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

3. evokes

Use evokes only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

4. reinforces

Use reinforces only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

5. foregrounds

Use foregrounds only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

6. emphasises

Use emphasises only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

7. contrasts

Use contrasts only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

8. juxtaposes

Use juxtaposes only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

9. destabilises

Use destabilises only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

10. undermines

Use undermines only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

11. intensifies

Use intensifies only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

12. softens

Use softens only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

13. accelerates

Use accelerates only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

14. slows

Use slows only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

15. isolates

Use isolates only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

16. accumulates

Use accumulates only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

17. frames

Use frames only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

18. positions

Use positions only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

19. invites

Use invites only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

20. distances

Use distances only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

21. aligns

Use aligns only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

22. characterises

Use characterises only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

23. foreshadows

Use foreshadows only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

24. echoes

Use echoes only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

25. mirrors

Use mirrors only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

26. symbolises

Use symbolises only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

27. questions

Use questions only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

28. satirises

Use satirises only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

29. normalises

Use normalises only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

30. challenges

Use challenges only when it accurately describes the relationship between the feature and effect. Write one analytical sentence using the verb, then replace it with a weaker verb such as “shows” and compare precision.

30 literary-device drills

Drill 1

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 2

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 3

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 4

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 5

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 6

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 7

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 8

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 9

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 10

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 11

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 12

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 13

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 14

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 15

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 16

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 17

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 18

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 19

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 20

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 21

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 22

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 23

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 24

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 25

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 26

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 27

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 28

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 29

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Drill 30

Choose two devices from different groups. Write two original sentences or a three-line micro-passage using them. Then analyse the passage without naming the devices in the first sentence. Explain the effect first, then add the terminology. This prevents label-first analysis.

Frequently asked questions

Do I need to identify every device in a passage?

No. Select the features that materially help explain meaning, tone, viewpoint or structure.

Can one phrase contain more than one device?

Yes. A phrase may combine sound, imagery, metaphor and syntax. Prioritise the feature most relevant to your argument.

Is symbolism always intentional?

Interpretation should be grounded in textual pattern and context. Avoid claiming certainty about authorial intention unless the evidence supports it.

What is the best way to memorise devices?

Use contrastive pairs and write original examples. Recognition improves when the learner creates as well as labels.

Do devices have fixed effects?

No. Repetition can reassure, intensify, mock or create rhythm depending on context.

How do I avoid generic analysis?

Name the exact association, pace, viewpoint or contrast rather than saying a device ‘makes the reader interested’.

Are these terms useful for IB too?

Yes. IB analysis also depends on close attention to how language, form, audience and context shape meaning.

What shows mastery?

The student can identify a meaningful feature, explain its effect in context and compare it with plausible alternatives.

Final principle

Literary terminology should shorten the distance between noticing and explaining. A device name is useful because it gives a precise handle to a pattern. But the analysis begins after the label: what association is created, how does the structure move, whose viewpoint controls the scene, and why does that matter here?

Continue with the Singapore Vocabulary Guide and the IB English analytical vocabulary owner once published.