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| The highest point of interest or suspense in the story; the most intense moment of comflict. |
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| A work in which the protagonist overcomes moderate difficulties, often through cooperation with others, thus gains place in a group or in society. |
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| When there's a difference between what a character thinks is true and what the audience knows to be true. |
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| Literaly the "unknotting" of the story, in which the writer ties up loose ends and restores order in the world inhabited by the characters. |
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| The beginning of a plot iare introduced and in which characters are introduced and setting is established. |
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| The gradual release of tension following the climax of a story. |
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| A doctrine, attitude, or way of life in which humanity and its capabilities are the central concern; typically characterized by an emphasis on reason over superstition. |
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| The event in a story that sets the plot in motion and introduces the main conflict. |
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| In the broadest sense, recognizing an ambiguity between what is and what appears to be. |
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| The point at which all of the conflicts have been resolved in a story. |
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| The intensifying of tensions within a story; rising action drives the plot toward the climax. |
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| A work about improbable events involving characters who are unlike ordinary people. The laws of nature may be bent in a romance: A knight on a winged horse may embark on a quest for a talking sword, for example. |
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| Broadly, a form of writing that highlights the folly and hypocrisy of a person, group, or society through clever, often disguised criticism. |
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| When events in a story contradict the expectations of the audience, characters, or both. |
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| From the ancient Greek word sophia meaning "wisdom"; originally used to describe teachers of rhetoric, now used for devious or shrewd arguers. |
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| When a word or phrase is used in a way that implies the opposite of the literal meaning. |
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