1123:
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."
176:. 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.
1651:
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
1466:, 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.
748:
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
288:
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
1650:
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
629:
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
1122:
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,
361:
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
630:
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.
216:
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.
819:
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
230:"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
325:
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
1537:: "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."
1299:
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.
1587:
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.
313:
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.
509:
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
829:
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
269:, 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
1029:. 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."
46:
uses—in other words, a strategy applied in the delivering of a narrative to relay information to the audience and to make the narrative more complete, complex, or engaging. Some scholars also call such a technique a
866:, 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 (
1136:
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.
1039:
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
884:
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
979:
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.
856:
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
972:
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.
956:
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
110:
The setting is both the time and geographic location within a narrative or within a work of fiction. The setting initiates the main backdrop and mood of a story, often referred to as the story world.
1016:, 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
1699:
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.
255:
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).
596:
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.
466:
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.
462:
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.
1459:
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.
1236:
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.
1333:
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
1177:
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.
1167:
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."
1160:
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.
795:
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
703:
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.
1133:
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.
1280:
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.
2000:
Robert Hartwell Fiske's Dictionary of Unendurable English: A Compendium of Mistakes in Grammar, Usage, and Spelling with commentary on lexicographers and linguists
352:
909:
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.
541:". 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.
583:, the main character repeatedly finds himself under the obligation of having to travel back in time because of something his future character has done.
2057:
1150:
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.
1837:
Revisiting the Reading Workshop: A Complete Guide to Organizing and Managing an Effective Reading Workshop That Builds Independent, Strategic Readers
3563:
1524:
Polysyndeton is the use of several conjunctions in close succession. This provides a sense of exaggeration designed to wear down the audience.
2915:
919:
Describing events in a real-world setting but with magical trappings, often incorporating local customs and invented beliefs. Different from
1194:
by a double vertical line. This technique frequently occurs within a poetic line grammatically connected to the end of the previous line by
2139:
808:, 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".
749:(for the curious audience) his or her methods, or a character asking a relatively educated person to explain what amounts to the backstory.
1771:
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.
658:
series, the protagonist tells a story from his past to his companions, and in this story he tells another relatively unrelated story.
492:"Heart of the Ocean" necklace in James Cameron's 1997 Titanic, which essentially serves as an object to cause Rose to tell her story.
693:
is predicted to come sooner rather than later heightens the urgency and sense of immediacy felt by the characters and by the reader.
63:, though these can also broadly refer to non-narrative writing strategies, as might be used in academic or essay writing, as well as
3244:
1090:
The expression, by means of symbolic fictional figures and actions, of truths or generalizations about human conduct or experience
351:
Implicit yet intentional efforts of an author to suggest events that have yet to take place in the process of narration. See also
557:
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
393:
1787:
Reflecting a character's (usually the protagonist) mood in the atmosphere or inanimate objects. Related to anthropomorphism and
227:
A dramatic principle that requires every element in a narrative to be substantive, with anything redundant or arbitrary removed.
2927:
2040:
2013:
1900:
1601:
The broken ends of the long bone were sticking through the bleeding skin, but it wasn't something that always killed a man.
1094:
775:, usually a contemporary human, giving the alien Doctor someone to explain situations to, for the benefit of the audience.
1266:"Is it not far better to abhor sins by the remembrance of others' faults, than by repentance of thine own follies?" (from
2256:
1754:
905:
3556:
554:
574:
Time travel paradox where a time traveler is caught in a loop of events that "predestines" them to travel back in time
207:
Story that precedes events in the story being toldâpast events or background that add meaning to current circumstances
3330:
2910:
2117:
837:
836:
and its later American version, also use this technique frequently to let the viewers know what the main character
428:
335:
when Mr. Scrooge visits the ghost of the future. It is also frequent in the later seasons of the television series
168:
1293:
Forming mental images of a scene using descriptive words, especially making use of the human senses. The same as
1221:
Deliberately preventing the audience from identifying with characters in order to let them be coolly scrutinized.
994:
832:
17:
1844:
1671:
A person hears a prophecy about himself. His endeavor to stop the prophecy from coming true makes it come true.
1180:
The ballerina rose gracefully en pointe and extended one slender leg behind her, like a dog at a fire hydrant.
893:
686:
551:
Virtue ultimately rewarded, or vice punished, by an ironic twist of fate related to the character's own conduct
489:
Object required to initiate the plot or motivation of the characters, but having little significance by itself
3847:
3549:
3239:
2651:
1357:
Sally's pregnant belly most likely weighed as much as the scooter she used to ride before she got pregnant.
874:'s unfamiliar plotting, which causes the reader to pay attention to the story and see it in an unjaded way.
3508:
2081:
1951:, 2nd ed., trans. Lee T. Lemon and Marion J. Reis (Lincoln, NE: University of Nebraska Press, 2012, 25â57.
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1744:
1319:
1283:
Sally could no longer hide her secret. Her pregnant belly was bigger than the planet on which she stood.
1241:
931:
842:
708:
172:(1966), the setting is crucial. The story begins in the Sudanese village of Wad Hamed before shifting to
2227:
2148:
663:
668:
Threat of impending disasterâoften used in thrillers where salvation and escape are essential elements
3357:
2621:
1113:
Repeating the same letter or consonant sound at the beginning of adjacent or closely connected words.
450:
This is used in epic poems, for example, where it is a mandatory form to be adopted. LuĂs de CamĂ”es'
1924:
3862:
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2725:
1788:
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1128:
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690:
601:
83:, which exist inherently in all works of narrative, rather than being merely optional strategies.
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3352:
3320:
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1007:
985:
953:
802:
Socrates in the writings of Plato. Plato never speaks in his own voice in his dialogues. In the
240:
The narrative ends unresolved, to draw the audience back to a future episode for the resolution.
3635:
3596:
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2005:
1861:
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879:
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Alteration of time sequences, taking characters back to the beginning of the tale, for instance
1862:"Emotional Distance: Transnational Pleasure in Tayeb Salih's Season of Migration to the North"
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3160:
3155:
3135:
3036:
2489:
2107:
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862:
803:
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Beginning the story in the middle of a sequence of events. A specific form of narrative hook.
336:
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212:
1972:
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A term made of two words that deliberately or coincidentally imply each other's opposite.
717:
698:
105:
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1998:
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Unexpected change ("twist") in the direction or expected outcome of the plot. See also
409:
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A main story that hatches a framing device, a story that is "framed" in the main story.
245:
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2113:
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2009:
1881:
1840:
1696:
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Using comparative metaphors and similes to give characteristics to abstract concepts.
1216:
1190:
A break, especially a sense pause, usually near the middle of a verse, and marked in
1048:
is written in multiple limited third-person narrators that change with each chapter.
935:
851:
672:
331:
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Metonomy: The boxer threw in the towel. Synecdoche: She gave her hand in marriage.
1066:
1012:
The author uses narrative and stylistic devices to create the sense of an unedited
790:
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419:
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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
546:
533:
471:
309:
72:
51:, though this term can also more narrowly refer to the particular technique of
2199:
2156:
870:) by creating a deformed plot (syuzhet). Tristram Shandy is defamiliarized by
80:
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3090:
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Rearranging the letters of a word or a phrase to form a new phrase or word.
1108:
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381:
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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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2058:"The 25 Funniest Analogies (Collected by High School English Teachers)"
1606:
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1334:
1255:
An artificial, highly elaborate way of writing or speaking. Named from
1195:
888:
771:
756:
752:
713:
579:
519:
476:
Story opening that "hooks" readers' attention so they will keep reading
132:
127:, over the course of a single day, 16 June 1904. The novel spans from
1947:
Victor Shklovsky, "Sterne's Tristram Shandy: Stylistic Commentary" in
1485:: "When well-appareled April on the heel / Of limping winter treads."
990:
A text written in the style of a direct address, in the second-person.
479:
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.
1378:
1328:
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or Gary Stu, which primarily serves as an idealized self-insertion.
796:
502:
A sudden interruption of the wordplay flow indicating the end of a
270:
160:, while other landmarks represent various episodes of the Odyssey.
284:, Gollum forcibly takes away the Ring from Frodo, suggesting that
3698:
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Word that sounds the same as, or similar to what the word means.
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2200:"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
140:
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2343:
1620:, the final line is "Sincerely yours, The Breakfast Club".
1337:, in which a part of the whole stands for the thing itself.
497:
79:. Furthermore, narrative techniques are distinguished from
1682:
Evoking imagination by means of using figurative language.
1350:
Exaggerating something, often for emphasis (also known as
1611:
Line of dialogue used to announce the name of the piece.
27:
List of methods used to convey information in a narrative
1695:
Distributing recurrent thematic concepts and moralistic
1399:"It was the best of times, it was the worst of times." (
1373:"Boom goes the dynamite." "Bang!" "Bark." (comic books)
923:
in that the magic itself is not the focus of the story.
606:
Prediction that, by being made, makes itself come true.
903:
is primarily told from Watson's perspective. The film
755:
in the Sherlock Holmes stories. Scott Evil, played by
593:
Diverting attention away from an item of significance.
42:) is any of several specific methods the creator of a
2029:
Abrams, Meyer Howard; Harpham, Geoffrey Galt (2009).
1547:
The use of humor, irony or exaggeration to criticize.
1839:(illustrated ed.). Scholastic Inc. p. 89.
1740:
that applies human-like characteristics to animals.
1413:
Ridicule by overstated imitation, usually humorous.
1239:This technique appears at least as far back as the
1997:
514:was a short comical vignette ending with an ochi.
3839:
1685:Her tears were a river flowing down her cheeks.
1598:A diminishing or softening of a theme or effect.
897:uses the title character as the narrator, while
1580:Sight, sound, taste, touch, smell. The same as
1495:Words derived from the same root in a sentence.
2135:Story-Telling Techniques in the Arabian Nights
1527:An example of this is in the first chapter of
3557:
2250:
2028:
1804:, which mirrors Lear's mental deterioration.
2140:International Journal of Middle East Studies
2133:Heath, Peter (May 1994), "Reviewed work(s):
2105:
840:is thinking and planning. Ferris Bueller in
643:A story told within another story. See also
135:in the North, with detailed descriptions of
2224:Webster's Seventh New Collegiate Dictionary
1367:Words that imitate/spell a sound or noise.
3564:
3550:
2257:
2243:
1996:Fiske, Robert Hartwell (1 November 2011).
1103:with Aslan as Christ and Edmund as Judas.
564:is a symbolic instance of poetic justice.
2183:
1925:"Literature Glossary â Defamiliarization"
3571:
1949:Russian Formalist Criticism: Four Essays
1901:"Techniques and Tension in Breaking Bad"
1898:
1834:
2222:
2180:, 11th ed. (Boston: Cengage, 2015), 169
1960:
1224:Popularized by 20th century playwright
14:
3840:
2928:Types of fiction with multiple endings
681:, the main characters face increasing
623:. There is also an example of this in
243:Almost every episode of TV shows like
3545:
2238:
2132:
1995:
1859:
1270:, 1, lecture by the wise Neapolitan)
1096:The Lion, the Witch, and the Wardrobe
689:toward Australia. Learning that the
609:Early examples include the legend of
2055:
2176:M. H. Abrams and Geoffrey Harpham,
1455:Emotional appeal, one of the three
1433:Such as the many stories featuring
846:frequently addresses the audience.
712:. The novel includes an unexpected
24:
1556:. One of the earliest examples is
952:A narrative that is told from the
25:
3874:
3331:Third-person omniscient narrative
1899:Demchick, Harrison (2013-09-26).
139:locations that parallel those in
2082:"Style Live: Style Invitational"
2035:. Cengage Learning. p. 24.
1755:Alice's Adventures in Wonderland
1317:This dates back at least to the
942:'s work provides good examples.
429:Sophia de Mello Breyner Andresen
169:Season of Migration to the North
2192:
2170:
2126:
2099:
2074:
2049:
1878:10.13169/arabstudquar.40.3.0213
425:Fables of Conflict and Intrigue
2719:Conflict between good and evil
2022:
1989:
1965:
1954:
1941:
1917:
1892:
1853:
1828:
1479:Taken from Act I, Scene II of
894:Adventures of Huckleberry Finn
726:
13:
1:
2264:
2216:
1054:uses an omniscient narrator.
2178:A Glossary of Literary Terms
2106:Graham Allen (2 June 2004).
2032:A Glossary of Literary Terms
1712:
1259:(1579) the prose romance by
652:The Wind Through the Keyhole
435:(O cavaleiro da Dinamarca).
7:
3817:Articulation (sociological)
2228:G. & C. Merriam Company
1810:
1745:The Adventures of Pinocchio
709:The Murder of Roger Ackroyd
403:. More modern examples are
362:courting at the same time.
10:
3879:
2149:Cambridge University Press
1835:Orehovec, Barbara (2003).
1794:For example, the storm in
1780:
1764:
1729:
1718:
1688:
1675:
1643:
1632:
1604:
1591:
1573:
1540:
1517:
1488:
1469:
1448:
1423:
1406:
1389:
1376:
1360:
1343:
1326:
1303:
1286:
1273:
1248:
1231:
1214:
1183:
1170:
1153:
1140:
1126:
1106:
1083:
1072:
1064:
1032:
1005:
983:
945:
926:Particularly popular with
912:
877:
849:
811:
788:
743:
732:
696:
664:Ticking time bomb scenario
661:
633:
599:
586:
567:
544:
517:
495:
482:
469:
438:
365:
344:
317:
292:
258:
233:
220:
200:
189:
103:
92:
86:
3809:
3763:
3717:
3664:
3625:
3579:
3394:
3366:
3358:Stream of unconsciousness
3301:
3045:
2936:
2889:Falling action/Catastasis
2834:
2739:
2674:
2597:
2409:
2272:
2157:10.1017/s0020743800060633
2112:. Routledge. p. 29.
2056:Rose, Judy (2006-09-12).
1564:. The television program
759:, son of Dr. Evil in the
119:by James Joyce is set in
2726:Self-fulfilling prophecy
1822:
1702:Each of the chapters of
1626:
1129:Amplification (rhetoric)
1060:
1051:The Master and Margarita
843:Ferris Bueller's Day Off
602:Self-fulfilling prophecy
531:An early example is the
183:
3353:Stream of consciousness
2816:Suspension of disbelief
1752:or the Cheshire Cat of
1314:important to the story.
1008:Stream of consciousness
995:Bright Lights, Big City
986:Second-person narration
906:The Wolf of Wall Street
379:Early examples include
156:serves as a modern-day
2894:Denouement/Catastrophe
2875:Rising action/Epitasis
1866:Arab Studies Quarterly
1233:Dramatic visualization
1045:A Song of Ice and Fire
1035:Third-person narration
932:Gabriel GarcĂa MĂĄrquez
880:First-person narration
570:Predestination paradox
353:repetitive designation
3240:Utopian and dystopian
1860:Murad, Rimun (2018).
433:The Knight of Denmark
282:The Lord of the Rings
213:The Lord of the Rings
3848:Narrative techniques
3573:Literary composition
2794:Narrative techniques
2574:Story within a story
2386:Supporting character
2004:. Scribner. p.
1514:, January 20, 1961.
1401:A Tale of Two Cities
637:Story within a story
372:story within a story
3822:Composition studies
3771:Creative nonfiction
3636:Linguistic contrast
3629: / devices
3499:Political narrative
3341:Unreliable narrator
3198:Speculative fiction
2906:Nonlinear narrative
2854:Three-act structure
2714:Deal with the Devil
2189:Heath (1994) p. 360
2137:by David Pinault",
2086:The Washington Post
1973:"Allegory Examples"
1796:William Shakespeare
1691:Thematic patterning
1457:modes of persuasion
1163:An example is when
718:unreliable narrator
699:Unreliable narrator
613:, and the story of
32:narrative technique
3477:Narrative paradigm
3472:Narrative identity
3402:Dominant narrative
3348:Multiple narrators
2632:Fictional location
2475:Dramatic structure
1617:The Breakfast Club
1558:Gulliver's Travels
1530:Great Expectations
1498:"Not as a call to
1439:Arthur Conan Doyle
1386:"terrible beauty"
1014:interior monologue
948:Multiperspectivity
863:Gulliver's Travels
823:The characters in
777:Dr. Jennifer Melfi
745:Audience surrogate
687:across the equator
650:In Stephen King's
423:update, subtitled
410:The Legend of Luke
81:narrative elements
57:literary technique
53:using a commentary
3835:
3834:
3827:Technical writing
3641:Literary contrast
3539:
3538:
3482:Narrative therapy
2916:television series
2861:Freytag's Pyramid
2704:Moral development
2607:Alternate history
2317:False protagonist
2042:978-1-4130-3390-8
2015:978-1-4516-5134-8
1808:
1807:
1710:
1709:
1657:Usage controversy
1624:
1623:
1512:Inaugural Address
1441:, or much of the
1217:Distancing effect
1058:
1057:
936:Jorge Luis Borges
852:Defamiliarization
724:
723:
332:A Christmas Carol
181:
180:
16:(Redirected from
3870:
3745:Rhetorical modes
3735:Grammatical mood
3689:Cut-up technique
3587:Characterization
3566:
3559:
3552:
3543:
3542:
3462:Literary science
3005:Narrative poetry
2901:Linear narrative
2811:Stylistic device
2806:Show, don't tell
2769:Figure of speech
2559:Shaggy dog story
2302:Characterization
2259:
2252:
2245:
2236:
2235:
2231:
2211:
2210:
2208:
2207:
2196:
2190:
2187:
2181:
2174:
2168:
2167:
2130:
2124:
2123:
2103:
2097:
2096:
2094:
2093:
2078:
2072:
2071:
2069:
2068:
2053:
2047:
2046:
2026:
2020:
2019:
2003:
1993:
1987:
1986:
1984:
1983:
1969:
1963:
1958:
1952:
1945:
1939:
1938:
1936:
1935:
1921:
1915:
1914:
1912:
1911:
1896:
1890:
1889:
1857:
1851:
1850:
1832:
1783:Pathetic fallacy
1732:Anthropomorphism
1717:
1716:
1706:by James Joyce.
1631:
1630:
1482:Romeo and Juliet
1464:Romeo and Juliet
1071:
1070:
1067:Figure of speech
791:Author surrogate
731:
730:
673:post-apocalyptic
539:The Three Apples
420:Kalila and Dimna
388:Kalila and Dimna
305:The Three Apples
267:J. R. R. Tolkien
188:
187:
131:in the South to
91:
90:
67:devices such as
40:fictional device
21:
3878:
3877:
3873:
3872:
3871:
3869:
3868:
3867:
3863:Style (fiction)
3838:
3837:
3836:
3831:
3810:Beyond the arts
3805:
3759:
3713:
3672:Writing process
3660:
3621:
3602:Fiction writing
3575:
3570:
3540:
3535:
3467:Literary theory
3407:Fiction writing
3390:
3362:
3297:
3049:
3041:
2932:
2830:
2735:
2670:
2593:
2464:Deus ex machina
2405:
2391:Title character
2376:Stock character
2322:Focal character
2268:
2263:
2226:, Springfield:
2219:
2214:
2205:
2203:
2198:
2197:
2193:
2188:
2184:
2175:
2171:
2131:
2127:
2120:
2104:
2100:
2091:
2089:
2080:
2079:
2075:
2066:
2064:
2062:Writing English
2054:
2050:
2043:
2027:
2023:
2016:
1994:
1990:
1981:
1979:
1971:
1970:
1966:
1959:
1955:
1946:
1942:
1933:
1931:
1923:
1922:
1918:
1909:
1907:
1905:Huffington Post
1897:
1893:
1858:
1854:
1847:
1833:
1829:
1825:
1813:
1738:personification
1715:
1663:, and the term
1629:
1535:Charles Dickens
1508:John F. Kennedy
1472:Personification
1437:not written by
1435:Sherlock Holmes
1295:sensory detail.
1204:An Essay on Man
1165:John F. Kennedy
1099:is a religious
1069:
1063:
915:Magical realism
900:Sherlock Holmes
872:Laurence Sterne
838:Frank Underwood
729:
506:or a kobanashi.
186:
174:London, England
154:7 Eccles Street
89:
61:literary device
28:
23:
22:
18:Literary device
15:
12:
11:
5:
3876:
3866:
3865:
3860:
3858:Poetic devices
3855:
3850:
3833:
3832:
3830:
3829:
3824:
3819:
3813:
3811:
3807:
3806:
3804:
3803:
3798:
3793:
3788:
3783:
3778:
3773:
3767:
3765:
3761:
3760:
3758:
3757:
3752:
3747:
3742:
3737:
3732:
3730:Writer's voice
3727:
3721:
3719:
3715:
3714:
3712:
3711:
3706:
3701:
3696:
3691:
3686:
3681:
3680:
3679:
3668:
3666:
3662:
3661:
3659:
3658:
3653:
3648:
3643:
3638:
3632:
3630:
3623:
3622:
3620:
3619:
3617:Writer's block
3614:
3609:
3604:
3599:
3594:
3589:
3583:
3581:
3580:General topics
3577:
3576:
3569:
3568:
3561:
3554:
3546:
3537:
3536:
3534:
3533:
3531:Verisimilitude
3528:
3523:
3518:
3513:
3512:
3511:
3501:
3496:
3495:
3494:
3484:
3479:
3474:
3469:
3464:
3459:
3458:
3457:
3447:
3446:
3445:
3436:
3434:Parallel novel
3431:
3430:
3429:
3424:
3419:
3404:
3398:
3396:
3392:
3391:
3389:
3388:
3383:
3378:
3372:
3370:
3364:
3363:
3361:
3360:
3355:
3350:
3345:
3344:
3343:
3338:
3333:
3323:
3318:
3313:
3307:
3305:
3299:
3298:
3296:
3295:
3294:
3293:
3288:
3278:
3277:
3276:
3271:
3266:
3261:
3256:
3255:
3254:
3249:
3248:
3247:
3242:
3237:
3227:
3222:
3217:
3216:
3215:
3205:
3195:
3190:
3185:
3184:
3183:
3178:
3168:
3163:
3158:
3153:
3148:
3143:
3138:
3133:
3128:
3123:
3118:
3113:
3108:
3103:
3098:
3093:
3088:
3083:
3078:
3076:Action fiction
3068:
3063:
3057:
3055:
3043:
3042:
3040:
3039:
3034:
3029:
3024:
3019:
3014:
3013:
3012:
3002:
2997:
2992:
2991:
2990:
2985:
2980:
2975:
2970:
2960:
2955:
2948:
2942:
2940:
2934:
2933:
2931:
2930:
2925:
2920:
2919:
2918:
2913:
2903:
2898:
2897:
2896:
2891:
2886:
2877:
2872:
2858:
2857:
2856:
2851:
2840:
2838:
2832:
2831:
2829:
2828:
2823:
2818:
2813:
2808:
2803:
2802:
2801:
2791:
2786:
2781:
2776:
2771:
2766:
2761:
2756:
2751:
2745:
2743:
2737:
2736:
2734:
2733:
2728:
2723:
2722:
2721:
2716:
2706:
2701:
2696:
2691:
2686:
2680:
2678:
2672:
2671:
2669:
2668:
2663:
2658:
2657:
2656:
2655:
2654:
2644:
2639:
2629:
2624:
2619:
2614:
2609:
2603:
2601:
2595:
2594:
2592:
2591:
2586:
2581:
2576:
2571:
2566:
2561:
2556:
2554:Self-insertion
2551:
2546:
2541:
2539:Poetic justice
2536:
2531:
2526:
2521:
2516:
2509:
2502:
2497:
2492:
2487:
2482:
2477:
2472:
2467:
2460:
2455:
2450:
2445:
2440:
2439:
2438:
2428:
2423:
2415:
2413:
2407:
2406:
2404:
2403:
2398:
2393:
2388:
2383:
2378:
2373:
2368:
2363:
2362:
2361:
2356:
2351:
2341:
2334:
2329:
2324:
2319:
2314:
2309:
2304:
2299:
2297:Character flaw
2294:
2289:
2284:
2278:
2276:
2270:
2269:
2262:
2261:
2254:
2247:
2239:
2233:
2232:
2218:
2215:
2213:
2212:
2191:
2182:
2169:
2125:
2118:
2109:Roland Barthes
2098:
2073:
2048:
2041:
2021:
2014:
1988:
1977:YourDictionary
1964:
1961:Webster (1969)
1953:
1940:
1916:
1891:
1872:(3): 213â232.
1852:
1845:
1826:
1824:
1821:
1820:
1819:
1812:
1809:
1806:
1805:
1792:
1785:
1779:
1778:
1772:
1769:
1763:
1762:
1741:
1734:
1728:
1727:
1724:
1721:
1714:
1711:
1708:
1707:
1700:
1693:
1687:
1686:
1683:
1680:
1674:
1673:
1668:
1659:section under
1648:
1642:
1641:
1638:
1635:
1628:
1625:
1622:
1621:
1612:
1609:
1603:
1602:
1599:
1596:
1594:Understatement
1590:
1589:
1585:
1578:
1576:Sensory detail
1572:
1571:
1562:Jonathan Swift
1550:An example is
1548:
1545:
1539:
1538:
1525:
1522:
1516:
1515:
1496:
1493:
1487:
1486:
1477:
1474:
1468:
1467:
1460:
1453:
1447:
1446:
1443:Cthulhu Mythos
1431:
1428:
1422:
1421:
1414:
1411:
1405:
1404:
1397:
1394:
1388:
1387:
1384:
1381:
1375:
1374:
1371:
1365:
1359:
1358:
1355:
1348:
1342:
1341:
1338:
1331:
1325:
1324:
1320:Arabian Nights
1315:
1308:
1302:
1301:
1297:
1291:
1285:
1284:
1281:
1278:
1272:
1271:
1264:
1253:
1247:
1246:
1242:Arabian Nights
1237:
1234:
1230:
1229:
1226:Bertolt Brecht
1222:
1219:
1213:
1212:
1209:Alexander Pope
1199:
1188:
1182:
1181:
1178:
1175:
1169:
1168:
1161:
1158:
1152:
1151:
1148:
1145:
1139:
1138:
1134:
1131:
1125:
1124:
1119:V for Vendetta
1114:
1111:
1105:
1104:
1093:C. S. Lewis's
1091:
1088:
1082:
1081:
1078:
1075:
1062:
1059:
1056:
1055:
1041:
1037:
1031:
1030:
1023:An example is
1021:
1010:
1004:
1003:
991:
988:
982:
981:
970:Roberto Bolano
958:
950:
944:
943:
940:Salman Rushdie
928:Latin American
924:
917:
911:
910:
886:
882:
876:
875:
858:
854:
848:
847:
833:House of Cards
821:
817:
810:
809:
800:
793:
787:
786:
750:
746:
742:
741:
738:
735:
728:
725:
722:
721:
706:An example is
704:
701:
695:
694:
669:
666:
660:
659:
648:
641:
640:(Hypodiegesis)
632:
631:
607:
604:
598:
597:
594:
591:
585:
584:
575:
572:
566:
565:
555:Wile E. Coyote
552:
549:
547:Poetic justice
543:
542:
534:Arabian Nights
529:
522:
516:
515:
507:
500:
494:
493:
490:
487:
481:
480:
477:
474:
472:Narrative hook
468:
467:
448:
445:
437:
436:
394:Arabian Nights
377:
374:
364:
363:
359:
349:
343:
342:
327:
323:
322:(or prolepsis)
316:
315:
310:Arabian Nights
303:The story of "
301:
298:
297:(or analepsis)
291:
290:
280:At the end of
278:
263:
257:
256:
241:
238:
232:
231:
228:
225:
219:
218:
208:
205:
199:
198:
195:
192:
185:
182:
179:
178:
111:
108:
102:
101:
98:
95:
88:
85:
49:narrative mode
26:
9:
6:
4:
3:
2:
3875:
3864:
3861:
3859:
3856:
3854:
3851:
3849:
3846:
3845:
3843:
3828:
3825:
3823:
3820:
3818:
3815:
3814:
3812:
3808:
3802:
3799:
3797:
3794:
3792:
3789:
3787:
3784:
3782:
3779:
3777:
3774:
3772:
3769:
3768:
3766:
3762:
3756:
3753:
3751:
3748:
3746:
3743:
3741:
3738:
3736:
3733:
3731:
3728:
3726:
3725:Writing style
3723:
3722:
3720:
3716:
3710:
3707:
3705:
3702:
3700:
3697:
3695:
3692:
3690:
3687:
3685:
3682:
3678:
3675:
3674:
3673:
3670:
3669:
3667:
3663:
3657:
3654:
3652:
3649:
3647:
3644:
3642:
3639:
3637:
3634:
3633:
3631:
3628:
3624:
3618:
3615:
3613:
3610:
3608:
3605:
3603:
3600:
3598:
3595:
3593:
3590:
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2513:KishĆtenketsu
2510:
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2506:In medias res
2503:
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2485:Foreshadowing
2483:
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2017:
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1760:Lewis Carroll
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1346:Overstatement
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1000:Jay McInerney
997:
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977:
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963:
962:Robert Altman
960:The films of
959:
955:
951:
949:
946:
941:
938:. Elsewhere,
937:
933:
930:authors like
929:
925:
922:
921:urban fantasy
918:
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828:
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826:Sesame Street
822:
818:
816:
813:Breaking the
812:
807:
806:
805:Second Letter
801:
798:
794:
792:
789:
784:
783:
778:
774:
773:
768:
764:
763:
762:Austin Powers
758:
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684:
683:radioactivity
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446:
444:
443:
442:In medias res
439:
434:
430:
426:
422:
421:
416:
412:
411:
406:
405:Brian Jacques
402:
401:
400:The Decameron
396:
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389:
384:
383:
378:
375:
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369:
366:
360:
358:
357:Chekhov's gun
354:
350:
348:
347:Foreshadowing
345:
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328:
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318:
312:
311:
306:
302:
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296:
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287:
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279:
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268:
264:
262:
261:Eucatastrophe
259:
254:
253:
248:
247:
242:
239:
237:
234:
229:
226:
224:
223:Chekhov's gun
221:
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209:
206:
204:
201:
196:
193:
190:
177:
175:
171:
170:
165:
159:
155:
151:
150:Leopold Bloom
147:
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78:
74:
70:
66:
62:
58:
54:
50:
45:
41:
37:
33:
19:
3626:
3521:Storytelling
3336:Subjectivity
3326:Third-person
3316:First-person
2950:
2793:
2759:Comic relief
2511:
2504:
2495:Flashforward
2462:
2436:Origin story
2418:
2381:Straight man
2336:
2223:
2204:. Retrieved
2202:. 2013-06-27
2194:
2185:
2177:
2172:
2144:
2138:
2134:
2128:
2108:
2101:
2090:. Retrieved
2088:. 1999-03-14
2085:
2076:
2065:. Retrieved
2061:
2051:
2031:
2024:
1999:
1991:
1980:. Retrieved
1976:
1967:
1956:
1948:
1943:
1932:. Retrieved
1928:
1919:
1908:. Retrieved
1904:
1894:
1869:
1865:
1855:
1836:
1830:
1799:
1753:
1743:
1703:
1656:
1652:
1615:
1581:
1570:is another.
1565:
1557:
1551:
1528:
1520:Polysyndeton
1511:
1503:
1499:
1480:
1463:
1418:MAD Magazine
1416:
1400:
1368:
1363:Onomatopoeia
1318:
1306:Leitwortstil
1294:
1256:
1240:
1202:
1117:
1116:In the film
1109:Alliteration
1100:
1095:
1049:
1043:
1024:
1018:free writing
993:
974:
965:
904:
898:
892:
861:
841:
831:
824:
804:
782:The Sopranos
780:
770:
760:
707:
678:On the Beach
676:
655:
651:
635:
626:Harry Potter
624:
618:
578:
560:
532:
526:twist ending
511:
463:
459:
455:
451:
440:
432:
424:
418:
408:
398:
392:
386:
382:Panchatantra
380:
337:
330:
320:Flashforward
308:
281:
274:
252:Breaking Bad
250:
244:
211:
167:
161:
143:
114:
77:rhyme scheme
60:
56:
48:
39:
31:
29:
3853:Narratology
3801:Short story
3592:Description
3526:Tellability
3492:Metafiction
3487:Narratology
3259:Theological
3151:Pop culture
3032:Short story
3010:Epic poetry
2731:Time travel
2544:Red herring
2529:Plot device
2500:Frame story
2453:Cliffhanger
2396:Tritagonist
2371:Protagonist
2151:: 358â360,
1817:Plot device
1655:). See the
1637:Definition
1077:Definition
860:In Swift's
857:Technique."
815:fourth wall
765:films. The
737:Definition
727:Perspective
645:frame story
620:Mahabharata
589:Red herring
464:The Lusiads
452:The Lusiads
415:Ramsay Wood
368:Frame story
236:Cliffhanger
194:Definition
164:Tayeb Salih
152:'s home at
97:Definition
3842:Categories
3796:Screenplay
3750:Stylistics
3709:Plagiarism
3684:Assemblage
3677:Prewriting
3627:Techniques
3607:Literature
3597:Exposition
3412:Continuity
3281:Nonfiction
3245:Underwater
3141:Picaresque
3116:Historical
3101:Epistolary
2973:Fairy tale
2884:Peripeteia
2866:Exposition
2622:Dreamworld
2564:Stereotype
2534:Plot twist
2282:Antagonist
2217:References
2206:2016-08-16
2092:2022-06-11
2067:2024-06-06
1982:2017-11-14
1934:2017-11-14
1929:shmoop.com
1910:2017-11-14
1846:0439444047
1789:projection
1607:Title drop
1567:South Park
1491:Polyptoton
1335:synecdoche
1196:enjambment
1065:See also:
954:viewpoints
889:Mark Twain
772:Doctor Who
757:Seth Green
753:Dr. Watson
714:plot twist
656:Dark Tower
580:Doctor Who
520:Plot twist
329:Occurs in
275:peripateia
265:Coined by
162:ÙAlso, in
133:Howth Head
113:The novel
34:(also, in
3303:Narration
3252:Superhero
3176:Chivalric
3161:Religious
3146:Political
3081:Adventure
3066:Biography
2988:Tall tale
2836:Structure
2821:Symbolism
2789:Narration
2689:Leitmotif
2617:Crossover
2612:Backstory
2569:Story arc
2519:MacGuffin
2490:Flashback
2431:Backstory
2307:Confidant
2287:Archenemy
2274:Character
2266:Narrative
2165:162223060
1886:0271-3519
1801:King Lear
1713:Character
1506:we are."
1504:embattled
1502:, though
1352:hyperbole
1276:Hyperbole
1261:John Lyly
1156:Asyndeton
1040:location.
976:Pale Fire
767:companion
685:drifting
654:, of the
512:kobanashi
485:MacGuffin
307:" in the
295:Flashback
203:Backstory
129:Sandycove
69:assonance
44:narrative
3740:Register
3718:Features
3704:Pastiche
3694:Diegesis
3509:Glossary
3504:Rhetoric
3311:Diegesis
3291:Creative
3264:Thriller
3213:Southern
3131:Paranoid
3126:Nautical
3037:Vignette
2995:Gamebook
2963:Folklore
2870:Protasis
2749:Allegory
2694:Metaphor
2652:parallel
2647:universe
2627:Dystopia
2584:Suspense
2470:Dialogue
2458:Conflict
2366:Narrator
2338:Hamartia
1811:See also
1767:Hamartia
1736:Form of
1678:Metaphor
1640:Example
1426:Pastiche
1379:Oxymoron
1329:Metonymy
1251:Euphuism
1192:scansion
1101:allegory
1086:Allegory
1080:Example
885:format.)
797:Mary Sue
769:role in
740:Example
559:Dante's
458:and the
431:'s 1964
417:'s 2011
407:'s 1999
271:peripety
197:Example
100:Example
3699:Mimesis
3665:Methods
3439:Prequel
3395:Related
3381:Present
3274:Western
3230:Science
3203:Fantasy
3171:Romance
3121:Mystery
3106:Ergodic
3071:Fiction
3027:Parable
3022:Novella
2952:Fabliau
2923:Premise
2774:Imagery
2764:Diction
2642:country
2599:Setting
2579:Subplot
2401:Villain
2354:Byronic
1775:Oedipus
1704:Ulysses
1665:tragedy
1582:imagery
1553:Network
1392:Paradox
1289:Imagery
1268:Euphues
1257:Euphues
1186:Caesura
1143:Anagram
1026:Ulysses
671:In the
617:in the
615:Krishna
611:Oedipus
561:Inferno
460:Odyssey
454:or the
370:, or a
326:detail.
210:Though
145:Odyssey
141:Homer's
125:Ireland
116:Ulysses
106:Setting
87:Setting
36:fiction
3791:Poetry
3646:Cliché
3612:Writer
3443:Sequel
3427:Retcon
3422:Reboot
3386:Future
3220:Horror
3208:Gothic
3193:Satire
3111:Erotic
2978:Legend
2880:Climax
2754:Bathos
2661:Utopia
2549:Reveal
2448:Cliché
2426:Action
2420:Ab ovo
2359:Tragic
2230:, 1969
2163:
2116:
2039:
2012:
1884:
1843:
1726:Notes
1697:motifs
1653:tragic
1543:Satire
1500:battle
1451:Pathos
1409:Parody
1173:Bathos
957:story.
868:fabula
675:novel
537:tale "
504:rakugo
397:, and
286:Sauron
246:Dexter
158:Ithaca
137:Dublin
121:Dublin
65:poetic
3786:Novel
3776:Essay
3764:Forms
3656:Trope
3651:Idiom
3450:Genre
3417:Canon
3368:Tense
3286:Novel
3269:Urban
3181:Prose
3166:Rogue
3091:Crime
3086:Comic
3047:Genre
3017:Novel
2968:Fable
2946:Drama
2911:films
2741:Style
2709:Motif
2699:Moral
2684:Irony
2676:Theme
2589:Trope
2161:S2CID
2147:(2),
1823:Notes
1723:Type
1720:Name
1661:irony
1646:Irony
1634:Name
1627:Theme
1312:theme
1074:Name
1061:Style
734:Name
691:worst
456:Iliad
191:Name
184:Plots
94:Name
75:, or
73:metre
3781:Joke
3755:Tone
3455:List
3376:Past
3235:Hard
3188:Saga
3096:Docu
3052:List
2983:Myth
2938:Form
2826:Tone
2799:Hook
2784:Mood
2779:Mode
2637:city
2524:Pace
2411:Plot
2349:Anti
2344:Hero
2327:Foil
2114:ISBN
2037:ISBN
2010:ISBN
1882:ISSN
1841:ISBN
966:2666
934:and
498:Ochi
427:and
355:and
338:Lost
249:and
38:, a
2844:Act
2153:doi
1874:doi
1798:'s
1758:by
1748:by
1614:In
1533:by
1462:In
1207:by
998:by
968:by
891:'s
820:it.
779:in
577:In
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59:or
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