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| Creating a negative attitude; hinting or implying; using loaded, emotional, or slanted language. |
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| Glittering Generalities or Card Stacking |
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| Telling only part of the truth; generalizing from a shred of evidence |
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| Creating a desire to join a large group satisfied with the idea; making one feel left out if not with the crowd |
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| Using the declaration of a famous person or authoritative expert to give heightened credibility |
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| Appeal to Prestige, Snobbery, or Plain Folks |
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| Using a spokesperson who appeals to the audience: a well-known or appealing person the audience wants to emulate, a person like the audience members with whom they can identify, a person whose lifestyle appeals to the audience |
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| Associating positive or negative qualities of a person, object or value to another in order to make the second more acceptable or discredit it |
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| Figure of speech that uses the words like or as to make comparisons |
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| Figure of speech that implies comparisons |
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| Figure of speech that applies human characteristics to non-human objects |
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| Intentionally exaggerated figure of speech |
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| Making judgments or drawing conclusions based on what an author has implied |
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| The incident that introduces the central conflict in the story; it may have occurred before the story happens |
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| A writer's attitude towards a subject that is manifested in his/her literary work |
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| An author's personality, awareness of audience, and passion for his or her subject that is manifested in his/ her literary work. It adds liveliness and energy to writing. Voice is the imprint of the writer- the capacity to elicit a response from a reader. |
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| A character that remains the same during the course of the story |
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| A character that changes during the course of and as a result of the story |
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| The emotional atmosphere produced by an author's use of language |
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| The way an author reveals events and ideas in a story. With an omniscient or "all knowing" point of view, a narrator sees all, hears all, and knows all. By contrast, a limited point of view depicts only what one character sees, hears, and feels. The point of view may be first person, narrated by someone outside the story or a character within the story. The point of view may also be third person, limited or omniscient, depending on what is known of the story. |
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| Anything that represents something else, often by indirect association or by the convention of an emblem, token, or word. In both prose and poetry, i.e., its suggestiveness, makes possible the expression of complex feelings and experiences in a few words. Symbolism, like metaphor, imagery, and allusion, is a powerful instrument for the expression of large words of meaning in a few words. |
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| The giving of clues to hint at coming events in a story |
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| The implication, through plot or character, that the actual situation is quite different from that presented |
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| A return to an earlier time in the course of a narrative to introduce prior information |
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| The use of concrete and recognizable things to represent ideas |
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| A 17-syllable, delicate, unrhymed Japanese verse, usually about nature |
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| A 5-line, rhymed, rhythmic verse, usually humorous |
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| A songlike narrative poem, usually featuring rhyme, rhythm, and refrain |
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| Poetry with neither regular meter nor rhyme scheme |
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| A stanza containing four lines |
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| Recurring identical or similar final word sounds within or at the ends of lines of verse |
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| The recurring pattern of strong and weak syllabic stresses |
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| A fixed pattern of accented and unaccented syllables in lines of fixed length to create rhythm |
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| Repeated use of sounds, words, or ideas for effect and emphasis |
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| Repetition of initial sounds, e.g., picked a peck of pickled peppers |
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| Repetition of vowel sounds, e.g., mad hatter |
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| Repetition of final consonant sounds, e.g. east/west |
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| The use of a word whose sound suggests its meaning, e.g., buzz |
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| An author's bias or subjectivity towards a certain subject |
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| Higher-order thinking as a result of forming either a concrete or abstract whole from the logical relation of parts |
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| Critically judging a piece of text (but not necessarily in a negative manner) |
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| The structuring and elaborating a writer does to construct an effective message for readers |
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| Those features that show the writer purposefully shaping and controlling language to affect readers |
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| The features that cause written language to be acceptable and effective for standard discourse |
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| An expansion of an original idea either by using descriptive details and examples horizontally within a sentence to give detail and depth to an idea, or vertically from paragraph to paragraph chronologically |
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| Writing to influence the the reader or listener to believe or do as the author or speaker suggests |
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| Writing to explain and build a body of well-organized and understandable information |
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| Writing to put forth information, frequently used in textbooks and the news media |
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| An author's personality, awareness of audience, and passion for his or her subject that is manifested in his/ her literary work. It adds liveliness and energy to writing. Voice is the imprint of the writer- the capacity to elicit a response from a reader. |
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Definition
| An author's attitude toward the subject that is manifested in his or her literary work |
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