Editing List of narrative techniques (section)

== Style ==
{{See also|Figure of speech}}
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! style="width:30%"| Definition 
! style="width:70%"| Example
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| [[Allegory]] || The expression, by means of symbolic fictional figures and actions, of truths or generalizations about human conduct or experience<ref>{{harvtxt|Webster|1969}}</ref>|| C. S. Lewis's [[The Lion, the Witch and the Wardrobe|''The Lion, the Witch, and the Wardrobe'']] is a religious '''allegory''' with Aslan as Christ and Edmund as Judas.<ref>{{Cite news|url=http://examples.yourdictionary.com/allegory-examples.html|title=Allegory Examples|work=YourDictionary|access-date=2017-11-14|language=en}}</ref>
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| [[Alliteration]] || Repeating the same letter or consonant sound at the beginning of adjacent or closely connected words. || In the film ''[[V for Vendetta (film)|V for Vendetta]]'' the main character performs a couple of soliloquies with a heavy use of alliteration, e.g., "Voilà! 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, 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-à-vis an introduction, and so it is my very good honor to meet you and you may call me V."
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| [[Amplification (rhetoric)]] || 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. || 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.
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| [[Anagram]] || Rearranging the letters of a word or a phrase to form a new phrase or word.|| 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.
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| [[Asyndeton]] || 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. || An example is when [[John F. Kennedy]] 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."
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| [[Bathos]] || 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.<ref>{{cite book|last=Fiske|first=Robert Hartwell|title=Robert Hartwell Fiske's Dictionary of Unendurable English: A Compendium of Mistakes in Grammar, Usage, and Spelling with commentary on lexicographers and linguists|url=https://archive.org/details/roberthartwellfi0000fisk|url-access=registration|date=1 November 2011 |publisher=Scribner|isbn=978-1-4516-5134-8|page=[https://archive.org/details/roberthartwellfi0000fisk/page/71 71]}}</ref><ref>{{cite book|last1=Abrams|first1=Meyer Howard|last2=Harpham|first2=Geoffrey Galt|title=A Glossary of Literary Terms|url=https://books.google.com/books?id=o9VkYJuVn9YC&pg=PA24 |year=2009|publisher=Cengage Learning|isbn=978-1-4130-3390-8|page=24}}</ref>||The ballerina rose gracefully en pointe and extended one slender leg behind her, like a dog at a fire hydrant.<ref>{{Cite web |last=Rose |first=Judy |date=2006-09-12 |title=The 25 Funniest Analogies (Collected by High School English Teachers) |url=https://writingenglish.wordpress.com/2006/09/12/the-25-funniest-analogies-collected-by-high-school-english-teachers/ |access-date=2024-06-06 |website=Writing English |language=en}}</ref><ref>{{cite news|url=https://www.washingtonpost.com/wp-srv/style/invitational/invit990314.htm |title=Style Live: Style Invitational |newspaper=The Washington Post |date=1999-03-14 |accessdate=2022-06-11}}</ref>
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| [[Caesura]] || A break, especially a sense pause, usually near the middle of a verse, and marked in [[scansion]] by a double vertical line. This technique frequently occurs within a poetic line grammatically connected to the end of the previous line by [[enjambment]].|| E.g., in "Know then thyself. ‖ Presume not God to scan" (from ''[[An Essay on Man]]'' by [[Alexander Pope]])
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| [[Distancing effect]] || Deliberately preventing the audience from identifying with characters in order to let them be coolly scrutinized.<ref>{{cite book|author=Graham Allen|title=Roland Barthes|url=https://books.google.com/books?id=o4Sg_gx3soIC&pg=PA29|date=2 June 2004|publisher=Routledge|isbn=1-134-50341-5|page=29}}</ref>|| Popularized by 20th century playwright [[Bertolt Brecht]].
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| Dramatic visualization || 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. || This technique appears at least as far back as the ''[[One Thousand and One Nights|Arabian Nights]]''.<ref>{{citation|first=Peter|last=Heath| title=Reviewed work(s): ''Story-Telling Techniques in the Arabian Nights'' by David Pinault|journal=[[International Journal of Middle East Studies]]|volume=26|issue=2|date=May 1994|publisher=[[Cambridge University Press]]|pages=358–360|doi=10.1017/s0020743800060633|s2cid=162223060 }}</ref>
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| [[Euphuism]] || An artificial, highly elaborate way of writing or speaking. Named from ''Euphues'' (1579) the prose romance by [[John Lyly]]. || "Is it not far better to abhor sins by the remembrance of others' faults, than by repentance of thine own follies?" (from [[Euphues]], 1, lecture by the wise Neapolitan)
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| [[Hyperbole]] ||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.<ref>M. H. Abrams and Geoffrey Harpham, ''A Glossary of Literary Terms'', 11th ed. (Boston: Cengage, 2015), 169</ref> || Sally could no longer hide her secret. Her pregnant belly was bigger than the planet on which she stood.
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| [[Imagery]] ||Forming mental images of a scene using descriptive words, especially making use of the human senses. The same as ''sensory detail.'' || 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.
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| [[Leitwortstil]] || Purposefully repeating words that usually express a motif or [[Theme (literature)|theme]] important to the story. || This dates back at least to the ''[[One Thousand and One Nights|Arabian Nights]]''.<ref name=Heath-360>Heath (1994) p. 360</ref>
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| [[Metonymy]] || 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 [[synecdoche]], in which a part of the whole stands for the thing itself. || Metonymy: The boxer threw in the towel. Synecdoche: She gave her hand in marriage.
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| [[Hyperbole|Overstatement]] || Exaggerating something, often for emphasis (also known as [[hyperbole]])  || Sally's pregnant belly most likely weighed as much as the scooter she used to ride before she got pregnant. 
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| [[Onomatopoeia]] || Words that imitate/spell a sound or noise.
Word that sounds the same as, or similar to what the word means.
| "Boom goes the dynamite." "Bang!" "Bark." (comic books)
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| [[Oxymoron]] || A term made of two words that deliberately or coincidentally imply each other's opposite. || "terrible beauty"
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| [[Paradox (literature)|Paradox]] || A phrase that describes an idea composed of concepts that conflict. || "It was the best of times, it was the worst of times." (''A Tale of Two Cities'')
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| [[Parody]] || Ridicule by overstated imitation, usually humorous. || ''[[MAD Magazine]]''
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| [[Pastiche]] ||Using forms and styles from another author, generally as an affectionate tribute. || Such as the many stories featuring [[Sherlock Holmes]] not written by [[Arthur Conan Doyle]], or much of the [[Cthulhu Mythos]].
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| [[Pathos]] || Emotional appeal, one of the three [[modes of persuasion]] in rhetoric that the author uses to inspire pity or sorrow towards a character—typically does not counterbalance the target character's suffering with a positive outcome, as in Tragedy. || In ''Romeo and Juliet'', 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.
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| [[Personification]] || Using comparative metaphors and similes to give characteristics to abstract concepts.||Taken from Act I, Scene II of ''[[Romeo and Juliet]]'': "When well-appareled April on the heel / Of limping winter treads."<ref>{{cite web|url=http://literarydevices.net/personification/|title=Personification - Examples and Definition of Personification|date=2013-06-27|language=en-US|access-date=2016-08-16}}</ref> 
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| [[Polyptoton]] || Words derived from the same root in a sentence.|| "Not as a call to '''battle''', though '''embattled''' we are." [[John F. Kennedy]], ''Inaugural Address'', January 20, 1961.
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| [[Polysyndeton]] || Polysyndeton is the use of several conjunctions in close succession. This provides a sense of exaggeration designed to wear down the audience. || An example of this is in the first chapter of ''[[Great Expectations]]'' by [[Charles Dickens]]: "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."
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| [[Satire]] || The use of humor, irony or exaggeration to criticize. || An example is ''[[Network (1976 film)|Network]]''. One of the earliest examples is ''Gulliver's Travels'', written by [[Jonathan Swift]]. The television program ''[[South Park]]'' is another.
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| [[Mental imagery|Sensory detail]] || Sight, sound, taste, touch, smell. The same as ''imagery''. || 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.
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| [[Understatement]] || A diminishing or softening of a theme for effect. || The broken ends of the long bone were sticking through the bleeding skin, but it wasn't something that always killed a man.
|- valign="top"| [[Word play]] || Sounds of words used as an aspect of the work. || A [[pun]] is a common example of word play.
|[[Title drop]]
|Line of dialogue used to announce the name of the piece.
|In ''[[The Breakfast Club]]'', the final line is "Sincerely yours, The Breakfast Club".
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