Certain words or grammatical forms {diction, literature} are appropriate for meaning intended. Using different words for same idea {paraphrase, diction} varies diction. Certain words or grammatical forms are appropriate only in poetry {poetic diction}.
In sentence positions, words or grammatical forms can be appropriate {decorum, literature}.
Literature can use contradiction {irony, literature}, in which intention is opposite of signal or result.
types
Spoken or written words can imply opposite idea {verbal irony, opposites}. During reasoning, later statements can contradict earlier statements {Socratic irony}. Characters can claim to have no knowledge but then demonstrate knowledge, as when Socrates claimed to have no knowledge, in Plato. Writers can playfully discuss contradictory ideas about love {romantic irony}, as in Romantic German literature. Action results can be opposite to what person expected, with tragic consequences {tragic irony}, as in Sophocles' works. Action results can be opposite to what person expected, for comical effect, as in farce. Fate can change action consequences or cause action changes {irony of fate} {cosmic irony}.
Writing can use too many stylistic devices {mannerism, literature}.
Literature can describe how and why character actions result from personality {motivation, literature}.
Works have time and place {setting, literature}.
Literature can have hierarchies and sequences {structure, literature}. Stanzas or episodes can be about one event. Episodes are at scenes. Works can have acts. Structure can repeat similar parts {parallel structure} or contrast differing parts {antithetical structure}. Content ideas unify episodes, scenes, and acts. Opposing episodes, scenes, and acts can create conflict and tension.
Literature can use expression devices and methods {style, literature}. In general, style is high or grand style, middle style, or low or plain style.
Poems or sentence lines have structure {texture, literature}. Texture involves imagery, meter, and detail, which underlying idea {content, prose} unifies or opposes to create conflict {tension, prose}.
Literature can have underlying idea or principle {theme, literature}, which develops in the work.
All parts can contribute to each other {unity, literature}. Renaissance critics suggested that the following three things {three unities} gave greatest unity: all scenes are relevant to the plot {action, unity}, period is less than day {time, unity}, and setting is one location {place, unity}.
Literature can describe event sequences {plot, literature}. Works can use subplots within main plot or plots {underplot} contrasting with main plot. Works can have main subplots or underplots {double plot}.
Literature can describe mental and physical activities {action, plot}.
rising
Plots have beginnings {rising action}. Rising action starts with character presentation {exposition, character}. Exposition includes meeting between protagonist and antagonist. Conflict between protagonist and antagonist or fate {complication, plot} follows, reaching conflict height {crisis, plot} {climax, plot}. Climax can be trivial or exaggerated {anticlimax}.
falling
Plots have second sections {falling action}. Falling action starts with conflict result, which can involve winning, losing, winning then losing, or losing then winning {reversal, plot}. Endings {catastrophe, plot} describe climax-and-reversal reactions {denouement, plot} and emotions {resolution, plot}.
Action involves struggle {conflict, literature} between protagonist and antagonist, fate, or self.
reversal {denouement, literature}|.
Stories can describe events {flashback}| {retrospect} that happened earlier in time.
Plots have sections {story, plot}. Stories either narrate scenes or summarize periods.
Literature can describe personalities {characterization} {character, literature}. Characters can have one main trait {flat character} or several main traits {round character}.
Main character {hero} {protagonist}| is person who struggles against antagonist.
Protagonist struggles against another main character {antagonist, literature}|.
Main characters {antihero} can have actions or emotions opposite to hero actions or emotions.
Main character can contrast with another character {foil, literature}.
Literature can use one or several paragraph or section formats {format, literature} {form, literature}.
Works can contrast pros and cons about questions {argumentation}.
Works can describe scenes {description, literature}.
Works can use dialogue {discourse}.
Works can explain acts or opinions {exposition, literature}.
Works can state theme examples {illustration, literature}.
Works can analyze performances or works {judgment, literature}.
Stories can have little dialogue {narration}.
Literature can reflect author relation to story {viewpoint, literature} {point of view, literature} {voice, literature}.
Characters {first-person observer} can observe and report action but have no action.
Characters {first-person participant} can participate in, and report on, action.
Authors {objective third person} can know no thoughts and not editorialize.
Authors {omniscient third person} can know character thoughts and actions. Authors {selective omniscient third person} {limited omniscient third person} can know one character's thoughts.
Authors {editorial observer} can comment on character thoughts or actions.
Naive people or children {innocent eye} can express author viewpoint in first person.
Authors {neutral observer} can make no comment on character thoughts or actions.
Persons {narrator} telling stories can express author thoughts.
Implied characters {mask character} can express author thoughts.
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Date Modified: 2022.0225