Literary devices are a variety of techniques that writers use to craft better stories, characters, dialogues, and scenes. You probably learned about several of them in school, such as symbolism, foreshadowing, irony, metaphor, etc.
Some literary devices are so subtle you might not even be aware of their presence. They enrich the reading experience with emotion, suspense, humour, tension, and more. Possessing a wider knowledge of these literary devices will help you build your own writing craft.
In this article, I’ll give you a comprehensive literary devices list and explain what each device does. Lastly, I’ll provide you with a Story Weapon you can use to incorporate literary devices naturally into your stories without making them feel forced.
This literary devices list organizes 120 techniques into figurative language, sound devices, repetition and emphasis, narrative devices, and character and stylistic devices — from metaphor and foreshadowing to chiasmus and dramatic irony. Each entry explains what the device does and how it functions in a scene. Rather than memorizing terminology, writers should ask what emotion a scene needs, then reach for the device that serves it.
What are literary devices?
“Literary devices” is an umbrella term for various writing techniques. Writers use them to create stylistic effects, convey deeper meaning, evoke emotions in their readers, and enhance the overall impact of their work. They give language a second life beneath the surface of the sentence.
Literary devices are not decorations applied to prose after the fact. They are the tools of a writer, just like specialized tools of a carpenter or a sculptor. For example, a metaphor can help readers visualize your character’s emotional state. The device of foreshadowing will add suspense, while irony provides a contrast with reality that can be humorous or tragic. Ultimately, using literary devices will give you more control over your reader’s experience.
Some of the following techniques in this literary devices list can also function as rhetorical devices that focus on persuasive techniques. The line between literary and rhetorical devices is not as firm as it appears in textbooks, and in creative writing there’s a lot of crossover. Your characters are not simply narrated. They speak, argue, cajole, and persuade. The tools that make language powerful in a speech are the same tools that make dialogue crackle on the page.
The ultimate literary devices list for writers
Figurative language literary devices
1. Metaphor
A metaphor makes a comparison between two dissimilar things by stating that one thing is another, although it is not literally so.
For example: “Her mind was a battleground.” Rather than simply stating that this character is wrestling with conflicting thoughts, the idea of a “battleground” here expresses the fight going on within her more colorfully.
When it’s used wisely, a metaphor can help convey the tone and emotional beats in a scene.
2. Simile
A simile is similar to the metaphor except that it compares two dissimilar things using specific words: “like” or “as.” An example of a simile would be “She ran like the wind.” Similes make things easier to understand for readers in their comparison.
3. Extended metaphor
An extended metaphor is a metaphor that runs through multiple sentences or paragraphs, or perhaps even throughout a whole book.
In order to illustrate a broken marriage, for example, a writer might describe a relationship in comparison to a deteriorating house falling further and further into disrepair. At first there is only one floor board out of place, then cracks grow longer on the walls. Eventually the roof falls in.
Extended metaphors can be used to subtly support the central message of your story.
4. Conceit
A conceit is a metaphor that creates an unexpected link between two entirely unrelated things in order to make a point or express an idea. For instance, falling in love could be compared to studying a new language.
Conceits make the reader think a bit more, which makes them especially useful for literary and reflective works.
5. Analogy
An analogy makes a comparison between two things in order to help explain an idea. For example, “Writing a novel is like building a house. You don’t start with the curtains; you start with a solid foundation.”
As opposed to a metaphor, the purpose of an analogy is not only to use imagery but to explain an idea. Analogies help your readers grasp complicated concepts.
6. Symbolism
Symbolism uses objects, places, colours, or actions to imbue a deeper meaning. There might be a character in your story who wears a broken watch. This simple accessory can mean a lot of different things symbolically.
Effective symbolism rewards those who pay attention to details without being confusing to everybody else.
7. Allegory
An allegory is the kind of story where the characters and events are symbolic of something from our own reality. They can explore moral, political, or philosophical concepts. For instance, a country divided by perpetual quarrels in a fantasy setting might mirror divisions in the modern world. Unlike symbolism, allegory is woven into the whole story.
8. Personification
In personification, human characteristics are assigned to animals, objects, or any natural phenomenon. For example: “The wind whispered through the crack in my window.”
While the wind cannot actually whisper in a human sense, this description creates an eerie and slightly offsetting environment. Personification works well when it helps create the proper mood and does not draw attention to itself.
9. Anthropomorphism
Anthropomorphism takes things a step further from personification, where the non-human characters get human characteristics and behaviours. You might come across a fox in a waistcoat arguing with his neighbour over the boundaries of their lands.
It is used mostly in children’s stories but can be found in adult fiction, too. Animal characters give writers the opportunity to explore human behaviour from a different angle.
10. Hyperbole
Hyperbole involves deliberate exaggeration. For example: “I’ve waited a thousand years.”
It is obvious to any reader that the speaker did not literally wait a thousand years. This type of rhetoric communicates a character’s emotions. Hyperbole is especially suitable for dialogue as it is used in real-life conversations.
11. Litotes
This involves deliberate understatement by negating something affirmative. For example, a character might find a new favorite singer, but simply say, “She’s not too bad.” This indirect way of understating something makes the message ironic or humorous.
12. Understatement
Understatement involves describing something as less important than it is in reality. The effect of humour, or sometimes the reality of the situation, becomes apparent in the contrast between the two. A character manages to escape from a crash and says, “Well, that could’ve gone better.”
13. Paradox
Paradox is a figure of speech that uses a self-contradicting sentence to point out a deeper truth. “The only thing that is constant is change” seems impossible but holds an essential truth in life. Writers who use paradox in their works invite their readers to reflect on the message of a particular passage.
14. Oxymoron
An oxymoron is a figure of speech that joins contradictory words to form a new idea. For instance, “deafening silence” and “bittersweet victory” might seem like nonsense phrases if you only consider these words at face value, but they actually represent common experiences. Because oxymorons pack complex feelings into just a few words, they can add vividness to your descriptions.
15. Idiom
Idiomatic expressions are phrases whose meanings cannot be interpreted through literal interpretations of the words that compose them. If a detective tells a colleague to “Keep an eye on the suspect,” no one thinks of literally removing an eye and sticking it to the person in question. Idioms help dialogues look more natural because they are parts of the ordinary language people speak in everyday conversations.
16. Euphemism
Euphemism is a way of replacing harsh or offensive words with smoother and more delicate versions. For example, a person will speak of somebody’s “passing away” rather than state outright that they’ve died, or of being “let go” from a job rather than “fired.” In addition to giving a story more lifelike conversations, euphemisms help to shed light on the ways characters deal with uncomfortable topics.
17. Dysphemism
While euphemism is about softening language, dysphemism is about doing the opposite — purposely using harsh words. “Rust bucket” used to describe a dilapidated car expresses the speaker’s anger or contempt quite clearly. Dysphemism helps to illustrate characters’ attitudes through their choice of words.
18. Metonymy
Replacing something’s name with another thing semantically associated with it is called metonymy. In a news story, for example, if you see that the “White House announced the new policy decisions,” everyone knows that it’s not the literal White House itself doing anything. The people working there give statements in the news. Metonymy is used for more concise and natural speech.
19. Synecdoche
It is close to metonymy and consists of the representation of the whole through its parts or vice versa. When the captain calls for help, saying “All hands on deck!” he does not mean that all hands should appear there separately. “Hands” is the synecdoche for sailors. With proper use, it brings vividness to the narration and dialogue.
20. Kenning
Kenning is the replacement of the familiar noun with an inventive expression which consists of two words. For instance, Old Norse poets called the sea the “whale road” and blood the “battle sweat.” Although modern writers rarely use kenning in their stories, historical fiction or fantasy writers might use them for an ancient culture.
21. Circumlocution
Circumlocution refers to the practice of expressing an idea using indirect language instead of being straightforward. Instead of coming out and saying that they’re firing someone, an insecure manager may say that the firm is “taking a different strategic direction.” Even though it may annoy the readers at times, circumlocution proves to be effective when one wants to depict evasion, insecurity, and manipulation of a character.
22. Transferred epithet
Transferred epithet means placing an adjective not on the noun that it describes but on a related noun. “She spent a sleepless night” — here the night did not even try to sleep, but she did. Transferred epithets make a text more interesting and natural-sounding compared to straightforward descriptions.
23. Zoomorphism
Zoomorphism is a figure of speech where animal features are given to a person or object. Such as a “ruthless landlord with hawk-like eyes” or a “boxer stalking his opponent like a wolf.” It’s a quick way to convey character without long descriptions.
24. Apostrophe
When a character or narrator addresses a person or thing that cannot respond, they’re using an apostrophe. If a grieving character whispers, “Oh, time, if only you would slow down,” it is not expected that time will reply. This device allows the writer to externalize the character’s feelings, letting readers get inside their mind.
25. Allusion
Allusion is an expression in a piece of literature that refers to another book, mythological being, event, famous person, or historical occurrence. For instance, saying that someone’s weakness is their “Achilles’ heel.” Allusions used wisely give additional meaning to your work, rewarding knowledgeable readers.
26. Imagery
Imagery creates pictures in the reader’s mind with the help of sensory details. To show that a bakery smells good, you might describe the sweet smell of cinnamon rolls and the sound of crackling butter in the oven.
27. Motif
A motif refers to a recurring image, object, word, or idea used to symbolize something in a story. In a novel about bereavement, there could be mentions of stopped clocks that indicate time has stood still as a result of the loss suffered by the characters. A motif gets its strength from repetition.
28. Pathetic fallacy
Pathetic fallacy attributes emotions associated with people to nature. The weather during a reunion might be described as having stormy skies or bright sunlight depending on the character’s feelings to help create the mood of the scene.
29. Synesthesia
Synesthesia is the mixture of different sense perceptions in one description. A musician describing the sound of a musical note could call it “bright,” while a character recalling the sound of a person’s voice might call it “bitter.”
30. Antithesis
Antithesis places contrasting ideas in order to highlight the differences between them. An example could be, “You desired comfort, but I craved freedom,” which would help to highlight the conflict in the opposition between these two characters. Antithesis is especially useful in dialogue or narration.
31. Juxtaposition
Juxtaposition is placing two contrasting people, locations, ideas, or events in the same vicinity in such a way that readers make a natural comparison between them. For example, if the author places a luxurious wedding near a homeless shelter, the readers will instantly see the difference between them without an explanation from the author. Authors use juxtaposition to emphasize themes or character traits.
32. Contrast
While juxtaposition involves placement of opposites, contrast is what these opposites produce. An example of contrast could be something as simple as a fearful apprentice and a fearless mentor or a tranquil village being threatened by invaders. Every narrative uses contrast since it helps readers see the situation better through comparison.
33. Analogy by contrast
These analogies involve the explanation of ideas in terms of difference, not likeness. For instance, when mentoring a young writer, an instructor might say something like “Writing is not a race but a marathon,” urging the protégé to think about patience rather than swiftness. This kind of analogy is used to help people understand abstract notions using their experiences.
34. Inversion
The technique of inversion allows for the reordering of words in order to emphasize one specific idea. In place of “She had never seen anything so beautiful,” a storyteller might instead write, “Never had she seen anything so beautiful.” Inversion can make significant moments more impressive.
35. Periphrasis
Also known as circumstantial description, periphrasis involves substituting an easy word for a complicated phrase. For example, a fantasy narrative might describe a “golden eye watching over the valley” rather than “sun.” Periphrasis provides additional imagery and voice, although excessive use of it makes texts unnecessarily ornate.
Sound devices
Sound devices can make a sentence feel smooth, harsh, playful, tense, or memorable without readers consciously noticing why.
36. Alliteration
Alliteration involves repeating initial sounds in neighbouring words. The line “the wild wind whipped across the water” has a different quality compared to lines where there is no repetition of sounds. It contributes to creating rhythm as well as highlighting the description.
37. Assonance
Assonance involves repeating vowel sounds nestled within neighbouring words. For example, in the line “the low moan echoed through the road,” the repetition of long “o” slows down the rhythm and contributes to creating an eerie atmosphere. It’s not as obvious as alliteration, but still affects the rhythm and flow of sentences.
38. Consonance
Consonance involves repeating consonant sounds, but not usually at the beginning of words. A line like “the cracked rock blocked the track” creates a harsh rhythm that reflects the harshness of the described scene. This type of literary device is sometimes combined with alliteration.
39. Onomatopoeia
Onomatopoeia is the use of words that mimic the sounds described. In the example of a comic book where a door creaks, thunder booms, or bacon sizzles, the words contribute to letting the reader “hear” what is happening.
40. Euphony
Euphony means a pleasant and harmonious combination of sounds. The usage of soft consonants and flowing vowels in a sentence such as “the river rolled lazily beneath the willow trees” makes a reader feel calm and peaceful before understanding the meaning of that sentence. Euphony is often used in romance, fantasy, and literary fiction to establish an atmosphere.
41. Cacophony
Cacophony is the opposite of euphony. Using harsh and clashing sounds helps to establish tension, discomfort, or chaos. The battlefield will seem to be more aggressive and violent when describing it using sounds such as “crash,” “clatter,” “crack,” and “clang.” Authors often use cacophony in moments of conflict to let sounds support the actions on the page.
42. Sibilance
Sibilance is the repetition of hissing sounds that are usually produced by such letters as s, sh, or z. For instance, the sentence “the snake slid silently through the grass” has a natural whispering effect. Depending on the context, sibilance may be used to create soothing, mysterious, seductive, or disconcerting atmospheres.
43. Plosive
Plosives are made by using p, b, t, d, k, and g. A line filled with words such as “pounded,” “battered,” and “crashed” will give an impactful effect since the words themselves are indicative of physical force. It is often helpful for action sequences to have language that includes plosives.
44. Internal rhyme
This is when rhyming words occur within the same sentence or line rather than occurring at the end. When the character says, “I knew what to do, but fear drew me back,” a slight sense of melody is created without it feeling poetic. Internal rhyme can be used sparingly in dialogue and writing.
45. End rhyme
This happens when words at the end of lines sound alike. Although end rhyme usually only occurs in poetry, it sometimes happens in songs, speeches, or even in famous dialogue. People pay attention to rhymes in language, and this may help emphasise certain concepts or a rhythm at play.
46. Half rhyme
Slant rhymes, also known as half rhymes, are used when the words sound alike but do not form a perfect rhyme. The words that have phonetic similarity and are not exact, for example, “shape” and “keep.” It is a much gentler effect compared to a perfect rhyme and seems more realistic in current literature.
47. Eye rhyme
Eye rhymes are those words that seem to rhyme but actually sound dissimilar. An example of eye rhymes includes words like “love” and “move.” These words look similar when written but do not sound like rhymes. Sometimes, writers deliberately use eye rhymes.
48. Rhythm
The term rhythm refers to stressed and unstressed syllables within a piece of writing. For instance, short and sharp sentences will help to accelerate the rhythm during action scenes, whereas long sentences with flowing rhythm can make the pace of reading slower.
49. Meter
Meter is an organised pattern of stressed and unstressed syllables, such as iambic pentameter that reigns through Shakespeare’s works. It is usually associated with poetry, but even if you don’t use it in your novel or memoir, learning about it might make your ear sharper and aid in creating more realistic dialogues and narrations.
50. Cadence
Cadence is a rhythm or a rhythmical rise and fall of the language used in a sentence or a passage. A great speech uses cadence to hold an audience’s attention. Prose with cadence sounds smoother and more interesting.
51. Refrain
Refrain is a phrase, line, or any element that recurs in the work. A character saying something like “Everything changes” or “I’ve got a bad feeling about this” each time they get into an important part of a story makes a refrain. Refrains allow the reader to get used to something and understand it without additional explanations.
52. Echoism
Echoism means repeating sounds and words for effect. For instance, when one character exclaims “Run!” and another one repeats “Run?” then it creates tension and emphasizes confusion. Echoism is often used in dialogues as it mimics people’s reactions in stressful situations.
53. Homophone
Homophones are words that are pronounced the same way but have different meanings. Calling out, “Turn right here!” but meaning for them to turn left at that spot exploits the two meanings of the word. Homophones are commonly used in puns and wordplay.
54. Cacophonous naming
Names that create harsh sound effects can affect the readers’ impression of the characters negatively. Names such as Kragg Blackthorn give quite a different impression compared to the name of a character like Oliver Green. Readers will form certain associations with a character just based on their name without any action.
55. Euphonic naming
This is the opposite of the previous device. Pleasant-sounding names generally create pleasant associations in the reader’s mind. A fantasy character named Elara Silverwind sounds quite different from someone called Brakk Stonefist. It would be unwise to rely on a name for all the characterization, but it helps sometimes.
Repetition and emphasis devices
Many literary devices rely on repetition as an effective way to direct reader attention.
56. Repetition
The repetition of words, phrases, images, or ideas serves as an effective way to make something memorable. A grieving father’s repetition of “He was just a boy” within a chapter can create a sense of his grief and sorrow about the loss. Effective repetition emphasises certain details; too much repetition becomes annoying.
57. Anaphora
Anaphora consists of repetition of words or phrases at the beginnings of successive sentences or clauses. “We will fight in the streets. We will fight in the fields. We will fight on the shores,” is a good example that gains power through each repetition. This tool is particularly useful in speeches or emotional dialogues.
58. Epistrophe
Epistrophe is used in the reverse order when words are repeated at the ends of successive clauses. For instance, a narrator may say, “They wanted freedom, dreamed of freedom, and finally died for freedom.” This repetition emphasises the end of a sentence.
59. Anadiplosis
In anadiplosis, the final word in one clause serves as the first word in the following clause. The quotation from Star Wars, “Fear leads to anger. Anger leads to hate. Hate leads to suffering,” is a good example of this figure of speech that establishes a logical progression of thoughts and actions.
60. Epizeuxis
Epizeuxis is the repetition of the same word immediately without any pause in between. When a terrified character utters the word “Run!” again and again (“Run! Run! Run!”), the need for any further explanation vanishes since the repetition itself conveys urgency in the best possible way. The emotional appeal of epizeuxis can be very high.
61. Diacope
In a diacope, a word or a phrase is repeated with one or two words in between. A character in a desperate situation may whisper, “The horror . . . my god, the horror,” or insist that, “You can do this. You can absolutely do this.” The use of some words between repetitions provides a diacope with an informal and colloquial tone.
62. Polysyndeton
Polysyndeton refers to the excessive use of conjunctions beyond what is necessary. This can be exemplified by the use of conjunctions like “There was plenty of bread and cheese and meat cooked over the fire and wine and fresh fruits at the table.” It isn’t used often as it breaks the tempo and compels the reader to analyze each item.
63. Asyndeton
Asyndeton, on the other hand, involves the omission of all conjunctions in sentences. Something like: “We came, we saw, we conquered” flows uninterrupted and moves quickly. Authors typically use asyndeton in describing events and processes that are fast-paced or highly emotional in nature.
64. Parallelism
Parallelism entails arranging the elements in a sentence in a parallel manner or the same grammatical construction for purposes of emphasising their equal significance. For instance, a mentor saying, “Write honestly, revise patiently, publish confidently.”
65. Chiasmus
Chiasmus is a symmetrical device that reverses the structure of the first half of a sentence, a stanza, a chapter, or even a whole plot in its latter half in an A-B-B-A pattern. “Do not ask what your country can do for you; but what you can do for your country,” becomes unforgettable precisely because of this symmetrical construction.
66. Tricolon
Tricolon refers to three parallel items put together in a list. A hero vowing to “protect the innocent, defend the weak, and defeat the tyrant” carries more weight than a vow that mentions only two things because three seems right. That is why the rule of three shows up so frequently in literature.
67. Rule of three
The rule of three states that when ideas come in groups of three, we remember them better. In fairy tales for instance, there are three wishes, three trials, and three little pigs. Three is just the right amount of repetition to make things memorable and satisfying.
68. Climax
The literary tool of climax is a means to order ideas or events so that they ascend in importance. This tool does not only have to be used at the major turning point of the narrative; it can work on the paragraph level too.
69. Anticlimax
Anticlimax is a way of creating an unexpectedly ordinary ending after a long build-up. After all the preparation, a character might trip in the mud and break their neck before they even draw their sword for an epic duel. In a conscious use of anticlimax, you can produce humour, surprise, or emphasize the ridiculousness of the scene.
70. Incremental repetition
Incremental repetition consists of repeating phrases and altering them slightly each time. An example might be a grieving mother saying initially, “He will come back,” then “Maybe he will come back,” and finally whispering, “Why hasn’t he come back?” Here the repetition can serve as a vehicle of character development.
71. Enumeration
In enumeration, details follow each other to create an emphasis or complete a certain image. A policeman may see muddy boots, broken glass, upturned chairs, papers all around, and a wide-open window before coming to a conclusion. Enumeration of the details lets readers participate and imagine the situation themselves.
72. Accumulation
In accumulation, an argument or a description is created through accumulation of relevant details. Instead of simply stating that the town has fallen into decline, the storyteller will describe how there are shut-down shops, rusty playgrounds, abandoned houses and deserted factories. Gradually, readers come to the conclusion themselves.
73. Amplification
Amplification repeats an idea and develops it in order to reveal its meaning more fully. If a character says, “I have made a mistake,” they wouldn’t leave it there, but continue telling how that mistake has affected their family, relationships with friends, and perhaps even their whole life.
74. Tautology
A tautology in language is a needless repetition of an idea in different words, such as “free gift” and “future plans.” While it’s technically a stylistic flaw in formal writing, characters can still speak in a tautological manner to mimic real-life speech.
75. Pleonasm
Pleonasm is the addition of unnecessary words to emphasise the meaning of a phrase. A frightened child saying, “I saw it with my own eyes,” does not give any additional details, but it does convey their emotional state through the extra words and give emphasis. Authors often include pleonasm in dialogues since people tend to be more repetitive when they get excited, angry, or scared.
Narrative devices
Narrative devices determine what readers know, when they know it, and how tension builds from one chapter to the next.
76. Foreshadowing
Foreshadowing hints at future events that will take place in the narration. When a character makes a joke of never having been on a plane before, the suspense rises. You just know something is going to happen on this flight.
Sometimes the foreshadowing is so subtle that readers don’t pick up on it right away, and they go back to read the book or watch the movie a second time.
77. Flashback
Flashback is a temporary digression into past events in the middle of the narration. To explain why two siblings do not speak, for example, the author can insert a flashback scene showing an argument between them when they were kids. Flashback works perfectly when answering a question or changing the reader’s perception of present events.
78. Flashforward
A flashforward takes the reader ahead in time into future events before moving on to follow the main timeline of events. A flashforward might begin a novel by introducing the reader to an older version of the protagonist undergoing something like a court case, and moving back to their free-spirited self before they end up there will spark curiosity. If used well, the flashforward can compel readers to keep turning pages to find out more.
79. In medias res
The term “in medias res” comes from Latin and means “in the middle of things.” Instead of a slow, gradual start to introduce the world of the story, the opening might instead involve the protagonist hanging from the edge of a cliff or running away from the police. Jumping into the middle of action in this way can instantly pull the interest of your readers
80. Frame story
A frame story involves a story within another story. Think of an old sailor telling tall tales to a bunch of kids about his most memorable voyage. Narration from the old man might form the framework of the bigger story.
81. Nonlinear narrative
Nonlinear narratives do not follow chronological time; stories may open at some climactic point and then flashback to earlier events before moving forward. In a mystery story, for example, the tale might start with finding a corpse and then rewind six months to introduce the victim. Flashback and flashforward are often used in nonlinear narratives, and may continue to alternate with the action of the main storyline until the lines cross.
82. Circular narrative
Circular narratives finish where they began, although the characters have been transformed through the experience of the journey. For instance, a story may start with a man standing on a train platform and end with him going back there many years later, the same setting viewed from a completely new perspective.
83. Cliffhanger
A cliffhanger is when a story ends with some crucial questions still unanswered. You don’t have to leave a character literally hanging from a cliff or in direct peril to achieve this. Perhaps the last chapter ends with your protagonist opening an enigmatic letter and the reader will have to get the next book in a series to find out what it means.
84. Red herring
A red herring is a false clue that leads away from the truth. You may present a murder suspect who has a strong motive for committing a crime, but then they turn out to have nothing to do with the crime at all. Successfully using a red herring relies on being misleading but not outright lying to the reader.
85. Chekhov’s gun
Chekhov’s Gun is the concept that if there is a significant element introduced early, it must make some meaningful appearance toward the end of the story. For example, if there is a rifle hanging above the fireplace in the first chapter, the reader might anticipate that it will make an appearance again somewhere in the story.
86. MacGuffin
The MacGuffin is something characters chase after in order to propel the story forward; what it is is irrelevant. It could be the mysterious ancient key, a vital secret document, some valuable gemstone which must be found. It is the decisions made because of this object that really count.
87. Plot twist
A plot twist alters how the reader perceives the story unexpectedly yet believably. Learning that the character the protagonist had faith in is actually responsible for the main conflict can alter their entire perception of what happened previously. The most effective twists have a trail of subtle clues or foreshadowing moments, and make your readers want to reread the story to see the clues in a new light.
88. Reveal
A reveal is when previously undisclosed information comes into light, either for the reader or the characters of the story. Finding out that the characters who have been enemies all along are actually siblings does not necessarily redirect the plot as a plot twist does, but rather adds depth to it and reinterprets some previous connections. The best reveals always raise several questions instead of answering just one.
89. Unreliable narrator
An unreliable narrator cannot be trusted, as he or she will lie about or misinterpret events in the story due to being delusional or simply having a different perception of things. For example, a narrator believed to be innocent may eventually drop hints of their guilt and force the reader to doubt their every word.
90. Dramatic irony
Dramatic irony is present when the audience knows something that is unknown to the character. There is an element of anticipation as readers watch a character planning a surprise party while knowing their best friend has actually just moved out. The difference between what the reader knows and what the character knows adds to the emotional effect.
91. Verbal irony
Verbal irony is when a person uses words to say the opposite of what they really think. It does not mean that a person wants to mislead others; for instance, when someone caught in the thunderstorm says, “What lovely weather we are having.” The ironic effect is produced due to the contradiction between their words and the actual situation.
92. Situational irony
Situational irony occurs when something unexpected happens. For example, a firefighter who starts a fire or a police officer gets robbed. The gap between the premise and the result is where a bit of humor often comes in.
93. Cosmic irony
Cosmic irony is a literary device where a higher power such as fate, destiny, or the entire cosmos seems to be making fun of the characters. The sailor surviving through numerous storms to end up drowning in a bathtub is an example of how sometimes in life, things don’t align with our efforts or a sense of “fairness.”
94. Deus ex machina
Deus ex machina involves resolving a seemingly unsolvable conflict using an outside force which is usually not hinted at before. For instance, if the protagonist is up against certain challenges and there’s no way out until an angel shows up out of nowhere to save them, readers will probably feel cheated since the character did not earn the help.
95. False protagonist
The false protagonist is the literary device whereby the initial character presented as the main character ends up giving the spotlight to another character. For example, you might follow the actions of a detective, but then they die and leave the mystery to their unwilling partner.
96. Frame
A frame is any structure that contains the main plot in a story. This can be a grandmother telling the story of her first love to her grandkids or an explorer reading passages from an old journal; these structures give perspective and “frame” the story. It is different from flashbacks because it is integral to the whole storytelling structure.
97. Backstory
The backstory covers any events that took place prior to the main plot of a story. In place of presenting a long list or distracting exposition of the difficult events in a character’s life, you can use dialogue and other means to introduce this information gradually. A good backstory answers questions that arise during the story.
98. Exposition
Exposition gives establishing information about the plot and the world of the story to help the reader understand what’s happening. Instead of dumping details about the history of a fantasy kingdom at the beginning of a novel, it’s better to incorporate this information through conversations, behavior, and actions.
99. Subplot
A subplot is a smaller plot within a larger story that either complements or opposes the main plot. For instance, if the main character is looking for a lost child, another plot about fixing a broken marriage could follow similar themes in a unique way. Effective subplots make the main plot more interesting rather than taking away from it.
100. Callback
A callback is an allusion to an earlier event in the story. An innocent promise made by the characters at the beginning might come up during the climax in an important way for the readers since they will remember its origin.
Character and stylistic devices
These devices shape entire characters, while influencing the voice, tone, and emotional atmosphere of a story. Here is a list of some of these:
101. Archetype
An archetype is a character or behavior type that recurs in stories throughout history and across cultures because of its universality as an expression of the shared human experience. Archetypes include the reluctant hero, wise mentor, trickster, and chosen one. We recognize archetypal patterns intuitively.
102. Character foil
In literature, a foil is a character used to highlight the traits of another character through contrast. An impulsive adventurer paired with a cautious character brings attention to each of their traits in ways that neither could do on their own. Foils don’t have to be antagonistic to each other; they’re simply characters whose contrasts bring out something about one another.
103. Dynamic character
A dynamic character undergoes significant change during the course of the story. A businessman who learns compassion or a shy student who becomes a confident leader represent the development of dynamic characters whose transformation is earned by their actions during the events of the story.
104. Static character
The static character does not change much in the course of the plot. This doesn’t mean that the static character cannot be a good character. A wise guide that always advises or an unchanging villain can be used to bring contrast when the protagonist changes. The most important thing is that their unchangeability should serve the story.
105. Flat character
The flat character has few qualities and plays a limited role in the plot of the story. The happy shopkeeper that only shows up once or the grumpy landlord that mostly creates obstacles does not need a backstory. Flat characters help to focus attention on the characters who really matter.
106. Round character
The round character is characterized by various qualities including strengths, weaknesses, motivation, and contradiction. The reader easily relates to round characters because they are the most like real people.
107. Antihero
Antiheroes are main characters who do not possess most of the attributes which we usually expect from heroes. They can be self-centred, cynical, morally ambiguous, or flawed, but people will still be interested in them regardless of all these shortcomings.
108. Tragic flaw (Hamartia)
A tragic flaw is a personal attribute which eventually leads to a person’s destruction. It might be their unwillingness to accept advice because of excessive pride, or an inability to leave an obsession which breaks a family apart. This type of flaw is characteristic of tragic plots, but modern writers use it in other stories as well.
109. Hubris
Hubris is extreme pride or self-confidence which makes a character ignore their limits. You might see a scientist or researcher who thinks that they have complete control over their experiments, or a king who considers himself superior to everybody else. As a result, such a character often faces total disaster.
110. Catharsis
Catharsis is the effect that results when readers see an emotionally charged struggle or hardship come to a satisfying close. Whenever a lengthy narrative concludes by relieving decades of guilt, sorrow, or sacrifice, the readers will usually feel a sense of relief along with the characters. While not all endings need to be happy, there still needs to be some kind of emotional closure.
111. Diction
Diction is in the choice of words that a writer uses. Contrast two sentences such as, “He entered the room,” and “He stormed into the room.” While they describe roughly the same action, the choice of words gives a completely different interpretation of the action. Good diction sharpens prose writing and allows for characterization.
112. Syntax
Syntax is the way in which words and sentences are put together. A passage consisting of short, choppy sentences gives a very different effect from one containing long descriptive sentences. Authors use varying syntax to control the pace of writing or create suspense.
113. Tone
The tone is indicative of the writer’s or narrator’s feelings about something. The same events can be described in a humorous way, a bitter way, a nostalgic way, or an optimistic way, depending upon how the event is perceived and described.
114. Mood
While tone belongs to the writer or narrator, mood is the atmosphere that the reader feels in a certain scenario. An empty amusement park in the evening will definitely create a mood different from that created when it is full of children in the afternoon.
115. Colloquialism
Colloquialism is an informal expression used in daily talk. A line like “I’m beat,” instead of “I am extremely tired” makes the character sound much more natural. Colloquialisms can help dialogues sound realistic.
116. Dialect
Dialect involves the vocabulary, grammar, or pronunciation specific to a certain location or group of people. Some dialects can help with characterization, but phonetically spelled dialects tend to slow down the reader. Often, it’s more useful to imply a dialect than write out each pronunciation.
117. Neologism
Neologism refers to a newly coined word or phrase. Science fiction and fantasy writers will use this tool to coin names for new technology or magical systems or even entire societies, while contemporary writers might create new phrases that reflect changes in language. Good neologisms tend to be self-explanatory within context.
118. Malapropism
Malapropism happens when a character uses a word incorrectly because they confused it for a similarly spelled word. If a character states that they are “the pineapple of politeness” instead of the “pinnacle,” humour is immediately created.
119. Cliché
Clichés refer to phrases, images, or ideas that have been used over-extensively such that they have lost much of their meaning or impact in the process. It’s not wrong to describe someone as being “cool as a cucumber” or as having a “love at first sight” romantic experience, but you must be careful of using clichéd phrases in writing too frequently.
120. Vignette
A vignette is a focused scene that describes a specific moment, individual, or emotion. Just one chapter describing a dance in a couple’s kitchen may tell more about their marriage than pages of description. The vignette is an important tool that can be used to slow down the action and set the mood or reveal character traits.
Your story weapon: How to use literary devices naturally
The most effective use of literary devices will often come from character, conflict, and theme.
Rather than ask: “What literary device can I use here?” instead, ask: “What does the reader need to feel in this particular scene?“
Once you know what you want your audience to feel, the appropriate device will become clear.
Do you need tension? Use foreshadowing. Emotional connection? Bring in symbolism. Vivid imagery? Metaphor or personification. A surprise? Try irony or a plot twist.
The literary device must serve the story; not the other way around.
Build a personal literary device inventory
Many writers learn literary devices passively. They only recognize them when someone points them out.
I recommend something more practical.
Create a personal literary device inventory that appeals to your writing style.
As you come across interesting techniques from reading other books or watching films, take notes on what makes these particular moments interesting and how they can be applied in your own future work.
Gradually, you will grow more and more familiar with the tools available to you in this literary devices list and how to use them to improve your own writing process.
Learning literary devices is not about memorizing terminology — it is about expanding the range of techniques available to you as a storyteller. The more deliberately you use these tools, the more effectively you can shape emotion, deepen meaning, and create memorable reading experiences. Put these techniques into practice and strengthen every aspect of your craft in one of my next workshops: The 90-Day Novel, The 90-Day Memoir, Story Day.
