#i hope this conveys some of what this web weave made me feel

[jonsaremembers]

Last one (for now)

Inspired by

Thanks @vinecrawler for that beautiful web weave, it set my wheels a turning.

[chaotic-theatrical-weaver]

I just saw the opening night of my school’s production of Lost Girl...

boy, was that an emotional rollercoaster or what?! It went off so flawlessly!

My theater kid friend from Spanish class was playing the therapist and she was so amazing. The actress playing the doctor did her job of making me frustrated with how unhelpful she was to Wendy. The Lost Boys had such impeccable comedic timing (special mention of the scene where one kissed another on the head when Wendy tells them about how she wants Peter to give her one special kiss back).

Wendy herself?! OH MY GOSH. The actress playing her and the trio of A, B, and C voicing her thoughts in a choruslike manner?! SO PERFECT. Her body language conveyed her apprehension and numbness. I sat there psychoanalyzing Wendy and came up with ideas on her codependency, insecure attachment style (had a hard time pinning that one down because she seems both dismissive-avoidant and anxious, so then I just decided on fearful-avoidant instead), depression with anhedonia, and depersonalization-derealization disorder (the way the lighting would switch and she would detach while someone was asking her if she could hear? The way she would sometimes answer questions with less concrete, more hazy replies?! Yes, yes, and surprisingly when I asked the actresses about whether they did deep dives or not, they said no because they were operating with only a vague knowledge and were more infusing their own anxieties about growing up. I admire them for their resistance of the urge to overanalyze--they were playing raw emotion and not something some textbook told them to be. I could never do that).

THE SYMBOLISM OF THE WINDOW AND CLOSURE. WENDY WON’T CLOSE THE WINDOW BECAUSE SHE IS STILL WAITING FOR PETER TO COME BACK! SHE’S LITERALLY AND FIGURATIVELY COLD AND LACKING IN CLOSURE!!! THE PLAY ENDS WITH HER FINALLY SHUTTING IT AFTER TALKING TO PETER AND REALIZING HE’S GROWN UP, BUT NOT MATURED. HE’S NOT THE SAME AS THE PERSON SHE IDEALIZED, AND SHE MAKES HER PEACE WITH THAT. THIS IS SO REMINISCENT OF SAMANTHA TURNING THE KEY AT THE END OF THE MAD ONES.

Apparently the actresses playing Wendy, A, B, and C had my theology teacher a few years ago (I asked), so Wendy saying she tries to remember what exactly led up to her happiness so she can replicate it and have that exact feeling again reminds me of what that theology teacher said about every human being wanting complete and perfect happiness and wanting more because we were made for God, who is infinite. (Now that I think of it more, it also sounds a bit like that part of The Screwtape Letters where Screwtape says that gluttony is traditionally envisioned as one who is insatiable in the sense of wanting more, but it’s also one who is insatiable in the sense of wanting something overly specific and being all picky about it.) I offered to share with them my upcoming web weave on growing up and they actually want it. It was inspired by my literature teacher’s thoughts on the coming-of-age novel...speaking of her, I hope she goes to see it. I’ll see her again on Tuesday and tell her everything I can.

I need to sleep now, so I’m just throwing out my thoughts. Good night!

[thinking-in-broken-scenes]

I was tagged by @emiliosandozsequence

What was your first ever story idea? What happened to it?

I would say probably some kind of adventure story probably with witches. It's likely written in some sort of journal somewhere but i don't remember exactly.

The oldest story I have a good chunk of is a slice-of-life drama about a kid with mental health struggles who also has visions into other people's lives. It's written entirely in poems, it's in my google drive. I still think it's an idea I might rework.

What’s your writing routine?

Music, I have specific writing playlists for some of my stories and trying to prop up pillows so I'm not hunched over.

Are you a plotter, a pantser, or something in between?

I usually have outlines of a broad timeline of the stories. And I do keep records of dates/ages/magic systems to refer to. So definitely do a lot of plotting. But often if I get into a story I will veer off from what I planned lol. Or I realise what I originally planned doesn't make a lot of sense with how my character is anymore.

I do write a lot of poetry from just what I'm feeling without thinking.

Do you try to tell moral stories throughout your work, or any other life lessons? What are they?

I won't go into a story trying to teach a life lesson or base it around proving a point. I mean my opinions come through in my stories. So there is implicit morals in the story. My POV characters do tend to have strong views, so you will pick up on certain things, but it's not meant to convince people I just like opinionated characters. But some of my characters have buck-wild opinions.

What do you prefer, character development or worldbuilding? Why?

Character development definitely. My worldbuilding is generally in service of the characters. I like Worldbuiling! And I try to have rich worlds with some degree of constancy so no one is thrown by shit making no sense. And I do enjoy creating things, like religions, but characters and relationships are what I'm best at and most invested in.

Do you have any tips for budding writers?

Nope! I don't feel like I have enough experience.

Who inspires you to write the most?

Stephen Chbosky, Beverly Cleary, Suzanne Collins,  E.L. Doctorow, Gillian Flynn, Ellen Hopkins, Tamsyn Muir, Matthew Stover, Ned Vizzini, Hanya Yanagihara, and Markus Zusaks are my literary inspirations. They are some of the writers I admire the most in how they convey complicated emotions.

Angie Sage is another writer who has always been a favourite. For her, it is the emotions as well but the sheer ability of her to construct an immersive world with consistent magic and world-building really expanded my imagination as a kid.

I would say Inn Between, The Magnus Archives, The Penumbra Podcast (Juno Steel Story), Welcome to Night Vale and Where The Stars Fallalso all inspire me! These podcasts are captivating and all have very interesting story mechanics! The surrealism of Welcome to Night Vale is also something I really like.

Doctor Who is something that inspires me as the amount of time I've spent dissecting that show I think has really made me think of the bones of my stories. ATLA & She Ra as well.

Web Weaves! Reading all the ways people are struck even by just fragments.

Mythology! Folk Tales! History!

And also like the amount of bullshit I'm going through in life. I need to get my pain and loneliness out somewhere. The way stories have always been my lifeline through all of my life! I need to create, the urge to tell stories is in my soul. And the way it saved me I hope others will feel seen by my writing as well.

[sanflowerseeds]

Just Enough

Genre: Fluff / Romance

Pairing: Choi San x Jung Wooyoung

Word count: 1.3k

Warnings: Too sweet your teeth may actually rot.

Synopsis: Wooyoung made the decision to not tiptoe around the subject anymore. As they say, just rip the band-aid once and for all. For better or for worse, he was going to say it. He needed to know.  

Wooyoung sat on the floor, back pressed against the practice room mirror and sweat-drenched t-shirt clinging to his overheated skin. That room was one of his favorite places, his safe space, somewhere he could be alone for at least a little while to just think and unravel. With his head leaned back and ragged breaths escaping his parted lips, he stretched his legs, feeling the familiar ache in his muscles after hours of dancing. Beyond just practicing, he danced to try and make sense of the web of thoughts weaving inside his head. 

Around him, everything seemed to be happening all at once. Too much work, a comeback, too many responsibilities, a tour, and all the pressure to succeed were weighing down on him. At the end of the day, he felt as if life passed by in a never-ending rush, like his world spun faster than what science ever said possible and it made him dizzy sometimes.

He thought it was funny, though, how amidst all the chaos some things moved so unhurriedly it’d be difficult for one to notice what the hell was going on unless they knew exactly what to look for. He certainly didn’t miss the irony in it.

The more Wooyoung thought about it, the more he realized he couldn’t be the only one to grasp the subtle changes in everyday actions. There was no way he was making it all up in his head, right? All the small hints were there, surrounding him - them - meant for only them to see and maybe finally understand.  

Wooyoung wanted nothing more than to understand. 

Touches and caresses were not so playful anymore. They now burned and left behind a distinct longing for warm, gentle fingers. Tickling didn’t evoke bursts of laughter, instead, it caused goosebumps to rise and electricity to run all along heated skin.

It’s been long since their hugs have simply been brotherly and playful. Now, arms wrapped firmly around each other and hearts beat at the same pace, wishing to stay close for just a while longer.

Words were not as simple since they started to hold an almost indiscernible, insinuative undertone, each syllable layered by implied emotions neither of them knew how to disguise.

And their eyes… Eyes that once held nothing more than friendship and platonic admiration, now glimmered with desire and veiled passion. 

“Young-ah?” San’s inquisitive voice came through the door as he peeked inside and took Wooyoung out of his reverie. The smile that graced San’s face the moment he spotted him caused Wooyoung’s heart to do a little flip in his chest and warmth to spread up his neck. Wooyoung snorted, rolling his eyes at the implications of his body's silly reactions to such a commonplace act. San didn’t seem to notice and in a few quick steps he reached the other, seating by his side and making himself comfortable while he threw a more than welcomed arm over Wooyoung’s shoulders. “I knew I’d find you here. You’ve been weird all day, what’s bothering you?”

Wooyoung shifted a little, his body easily molding into San’s familiar embrace. That was it. The chance presented itself and he made the decision to not tiptoe around the subject anymore. As they say, just rip the band-aid once and for all. For better or for worse, he was going to say it. He needed to know.  

“Sannie…” he turned his face to look straight at the other man, meeting a slightly raised eyebrow and curious eyes staring right back at him. He has always been mesmerized by San's eyes. They held a billion constellations, the light of infinite stars that at that instant, he realized, he wouldn't mind spending forever trying to count. “Do you think…" he didn't quite know how to put it in words. "Have we changed?”

Blunt, straight-forward and a little clueless, if he was being honest. When it came to San, Wooyoung was at a loss for words more often than he would like to admit. That was probably the reason why, running the risk of seeming too clingy, he resorted to expressing himself through actions rather than flimsy conversation, even though he knew he could be a real blabbermouth, for the most part.

Right now, it didn't matter anyway. Because for Wooyoung, there was only the light brush of San's fingers on his forehead when moving Wooyoung's dark bangs out of his eyes. He could only focus on the warmth radiating from San's soft palm when it cupped one of his cheeks. It was just too easy to lean into the touch and want to risk it all when the lines of San's facial expression softened and his smile grew freely, dimples framing the corner of his upturned lips.

Without a doubt, Wooyoung was whipped.

He watched as San leaned his face closer, their mouths merely inches apart. The anticipation was electrifying and expectation hung heavy in the air around them, the thick silence disrupted only by Wooyoung’s heartbeat pounding in his own ears and San’s gentle tone of voice when he finally decided to speak. 

“I think,” San said, averting his eyes to look at Wooyung’s lips and back to staring at him once again, unconcealed want reflected in his dark irises  “We’re still changing…”

Wooyoung licked his lips, all the while very aware of it being an open invitation, one he was glad San accepted. There were no second thoughts when their mouths finally met in a kiss they both knew it was long coming. It was soft, just a tentative touch of lips at first, while they assessed each other’s reactions. 

When San pulled away, it was more than instinct that led Wooyoung to tangle his fingers on San’s t-shirt collar and pull him back in, now for a fully open-mouthed kiss. There was purpose in it and even if their tongues moved slowly, gently caressing one another, there was nothing innocent about it. It lit Wooyoung’s brain on fire and spread heat throughout his whole body. 

He always thought it was plain bullshit that people would see fireworks when they finally got to kiss “the one”, that it was all a Hollywood fib. But when San’s hand moved to Wooyoung’s nape, holding his head in place so he could deepen the kiss, all Wooyoung could see behind his closed eyelids were explosions of greens, purples, and blues, and so many other different colors that painted the canvas of his emotions in overwhelmingly beauty. 

Reluctantly, they parted, but stayed close still, foreheads touching while they tried to calm their uneven breathing. They smiled blissfully unaware of how much time had passed. It could have been seconds, minutes, even hours wouldn't have felt long enough. They didn't talk, no words were able, or necessary, to convey their feelings. 

At last, San caressed Wooyoung's lower lip with the pad of his thumb and with one last quick peck moved away from the other's personal space. 

"Come on," San stood up and ran a hand through his messy hair while checking himself in the mirror. "Everyone is ready to go home, that's why they sent me to get you." He winked playfully at the other before stretching his hand to help Wooyoung on his feet.

Where he was looking for answers, Wooyoung ended up with that many more questions. It was scary, but all the possibilities were also exciting. It became clear to him that it didn't matter what the future held in storage for them - if just being friends or something more - he didn't need to worry because for as long as he had San by his side, everything was going to be ok.

For Wooyoung, he realized, that was enough.

And as they left the practice room together, laced fingers and silly grins, Wooyoung couldn't help but wonder. Was that it?

Was it... love?

--------------------------------------------

Yay, I'm back (kinda) with a lovely Woosan this time. I was feeling down and needed a pick me up, and what's better than fluff and friends figuring out their feelings for each other 😉 As always, I hope you enjoyed the reading and any feedback is very welcomed! My ask is open so don't be shy and let me know what you think 😊

[lorei-writes]

Together

Part 1 - The Past

Masamune x MC (Mizusaki Mai) Some angst, some comfort, some fluff Word count: 1200-ish

 I plan to write two more parts

... If it makes it any better then, the overall ending will be... Neat? 

Disclaimer: I do not own any of the characters, as Ikemen Sengoku is the property of Cybrid. Anything included in the story is not canon.  

Masamune knew she was the only one of her kind from the very beginning. Maybe it was hidden in her smile or in the way she spoke – of that he was not sure. Yet, this tinge of oddness attracted him to her and before he realised, he got tangled in the web she weaved inadvertently. Indeed, when he first learnt that Mai could return to the future, he did feel just like a trapped fly about to be eaten.

However, the death never came and the threads that held him captive dissolved. Mai decided to stay. For once, a relief washed over Masamune. He never expected that to happen – his whole life was a song of freedom, but then he found sweetness even in being this special sort of a prisoner. Perhaps that was what people meant when calling love „a sweet poison.” 

 He loved her, day and night, never ceasing to note how blissful it was. Whenever once beloved quality started to turn into a dreadful flaw – her resolve appearing to be stubbornness, her boldness arising nothing except for annoyance – he just couldn't help, but find something new to cherish. Falling for her again and again wasn't hard either way and so, their love only matured. 

 Five years had passed since Mai made up her mind, two since their wedding. Each day he cursed himself for not noticing the early signs – how exhausted she had been all this time, how forgetful she became and how her once sharp mind turned duller and duller with the passing of time. He cursed himself for being a fool, too blinded by his personal happiness to notice her misery – because obviously, it had to be miserable. The smile didn't reach her eyes anymore. Whatever happened to her, Masamune would like to ward it off – yet couldn't. He thought that maybe, just maybe if he had known from the very beginning – then maybe, he would be able to do something for her, anything. Under those circumstances, her loving gaze was the worst  – she still wanted him, even if he couldn't do much more than hold her in his arms, so that the cold she kept talking about couldn't reach her.

The extended family did see a certain opportunity in the couple's personal struggle. As he and Mai could not produce a heir, some animosity towards her arose. Masamune could not count how many times he heard hushed voices in the corridors spitting vicious words, unaware of his presence. He suspected his beloved was more than informed of the situation as well. He was only waiting for his advisors to bring up the topic of concubines – not that he intended to take any. 

 However, the nights still were peaceful. With Mai, he was nobody but the man that had fallen for her years ago – and she was the only one he ever wanted in that way. Masamune kissed trails down her body, caressing all the imperfections he adored – stretch marks on her breasts, little scars scattered all over her form, her soft belly. If anything, he was tender and soothing, methodically working all the sorrow away from her body and replacing it with a sweet sort of yearning, hoping to convey his feelings through action. The way she was calling him was intoxicating, as they rocked together, only to bask in their afterglow afterwards. He loved it every time she cuddled to him, too tired to do anything else. „ I love you,” she whispered yet another time, kissing him on the cheek. „ I love you too, kitten,” he chuckled, as she burrowed her face in the crook of his neck. Mai fell awfully silent. „ Are you already asleep?” he asked, moving his hand to tickle her side a little. „No, not yet,” she laughed. „ Just thinking.” „ About what?” „ Nothing much. I'm just glad to have you here.” He raised his eyebrows. „ Are you worried about something?” „I...,” Mai sighed, moving away from her comfortable spot. She sat up. „ Your retainers don't seem to look so kindly at me anymore.” Masamune propped himself up on his elbow. „ Mai. Never in my entire life I have ever felt towards somebody like I do towards you. I do not take fools' words for the advice.” „ But there is something wrong with me.” „ We're in this together. No matter what happens.”

The worsening of her condition, although expected, was still hard to accept. Mai soon realised that throughout the months leading to their move to Kyoto, her husband asked significantly more questions about the future than usual – the near future. Initially, she was unwilling to share any of her knowledge, yet with her health deteriorating, she found herself giving him all the answers. The exhaustion got the better of her, the brain fog constantly clouding her mind. Only once they settled at their new base of operation, she inquired: „ You want to send me back, don't you?” Masamune opened his mouth, looking for the proper words to explain his intentions. Finally, he spoke: „ No. If the possibility arises, I want to go back with you.” „ You can't. It's still years too early for you to even consider it.” „ I've been rushing through all the matters and issuing orders in advance.” She sat in front of him, tears shining in her eyes. „ I do not agree to that,” she stated firmly, looking straight at him. „ It's too risky.” „ But in your time, they may already have a cure,” he said, cupping her face. „ I can't stand seeing you suffer.” The tears spilled over. Mai threw herself at him, embracing him with all the power she had. Masamune hugged her back, pulling her into his lap.

Few weeks had passed. They were not ready for the lightning, even less so for it to shot down the tree in their garden. The maids ran away from the fire, yet all the lord of Oshu could hear was the voice of his lover. He rushed to her, hoping he wouldn't be there too late. 

 The flames had engulfed the petals of peonies, consuming the flowers whole until nothing but ash remained. Mai extended her hand to him, as if she was trying to slip away from the current that was swallowing her.  Desperately, she turned and twisted in the attempt to slow down the inevitable. Seeing how close he was, she extended her arm to him. 

Masamune hesitated, a stream of thoughts clouding his judgement. He did not reach her and by the time he tried to correct his mistake, she had already started turning transparent. „ Mai!” he roared, not believing his own eye. „ No. No. No. We were to leave together,” she cried. „ Why didn't you grab my hand?” „ I can't go yet. I need to make sure you'll have the future to come to.” „ You liar!” she yelled, tears streaming down her face. „ If there's ever a chance, I'll do everything in my power to see you again. I'm begging of you, forgive me.”

With that, she was gone.

[mama-m1na]

Apocalypse: Chapter 8

~~~VIII~~~

When the time actually came for the group to start their operation Rhamina was correct in assuming that it was another 'Distract and Attack' mission.

Kiran had somehow arranged for them to perform at the casino that night and even got other members of Yukitara's group to accompany them as a jazz ensemble.

The other three members of Apocalypse would be acting as the group's bodyguards, but when they began performing they would be searching for members of the gang they would be confronting.

"God, this outfit is the shit!" the ravenette chirped as she took a look at herself in the mirror, "I still want to know how Hana got my sizes though."

The outfit consisted of a cropped purple halter top with pleated layers at the front, a matching skirt that had a high slit up the left side which allowed for free movement despite the skirt reaching the floor.

Some of her back and stomach were showing, but the teen still looked pretty classy with her hair down to hide the skin of her back and the jewelry she never took off.

When the time came for them to head off, they rode with Kiran and the rest of their allies in a white limo: which was slightly difficult for Cloud with his buster sword, but he managed.

"Alright," Kiran said as he passed out folders to the three other Apocalypse members, "This is who we believe is going to be showing up tonight, but what you really need to know is their crest. If they have that, then they're fair game."

"Damn, Kiran, this is really fucking detailed," Sierra commented as she looked through the various profiles, "Did you make these yourself?"

Rhamina raised a brow before looking over Kerstin's shoulder to see that the brunette was right, but what caught her eyes was a certain set of information that seemed way too hard to get unless one had followed the targets for a long time.

"Kiran, what exactly have you been up to in the past five years that I haven't seen you?" she asked as she looked up to the older male, "'Cause this seems like the kind of information a professional stalker would sell on the deep web."

Her last statement caused the other members that Kiran brought to bust out laughing as the said male nervously scratched the back of his neck.

"What's so funny?" the eighteen-year-old asked, tilting her head to the side in confusion.

"It's because you made a very specific, but accurate guess," the Korean chuckled, "I've been working as an information broker on the dark web up until I joined this group."

"Aight," the ravenette shrugged as she leaned back into her seat and pulled out her phone to continue reading.

"That's it?"

"I mean, what do you want me to say?" she asked, looking back at her friend, "I've been working in the red light district since I was, thirteen-ish? I have no room to judge you for that shit."

"You've been working in that kind of place since you were thirteen?" one of the other Asian men asked with a raised brow.

"Yep! Went from serving drinks to beating people up for money," the teen explained with a bright smile on her face.

"Fuck yeah, that's one hell of an upgrade!" another one of the men laughed as he reached over to give the girl a high five.

Cloud stayed to himself as the others conversed as he absorbed the information he had just received.

He knew that Rhamina had been working in the red light district since before she met him, but he just couldn't imagine a younger version of the female doing it; especially, not after seeing the child version of the eighteen-year-old.

However, he also knew that she had to have learned her terrifying skills from somewhere; her fighting, her knowledge on the human psychology, and everything else she knew had to have come from some kind of experience.

When they arrived at the casino, the musicians began unloading their instruments as they were greeted by one of the casino employees.

As they were being led inside, Cloud couldn't help but notice how excited the ravenette looked, small clicking noises coming from her every now and then.

"She has a thing for gambling," Sierra explained as they passed the poker tables, the older female's eyes immediately lighting up.

"Don't ever play a serious game with her," Kerstin warned as she leaned in closer to the male, "She's a fucking sadist when it comes to games like that."

Once the group had made it to where they were set to perform, Rhamina turned to her friends and said, "Y'all can go ahead and get started for now, but just be as discreet as you can."

Walking around the casino, Kerstin and Sierra couldn't help but feel a little intimidated and excited while Cloud stayed indifferent.

Many of the members of Apocalypse lived in the middle or lower class of society, so they had never even stepped foot in such an extravagant place like the casino in North City when the world was still functioning.

"Man, Mina was lucky," Kerstin muttered as they passed another restaurant filled with nicely dressed people, "She used to perform in places like this all the time."

Upon seeing Cloud's brows to raise in confusion, Sierra explained what the seventeen-year-old was referring to while they continued walking through the marble halls.

"Professional fan dancers were a very popular form of live entertainment for the rich, so a lot of the time, Mina would be pulled out of school to perform in places like this," the brunette said, "Still made her nervous every time though... Her parents held her to very high standards."

Meanwhile, the ravenette was helping the group set up their electronics and going over the set order and list for the night.

While she was feeling confident in her skills and magic, the teen couldn't help but let her anxiety linger for a bit as she could remember the judgmental stares of her family.

'Shut the fuck up, Mina, you're a boss ass bitch who's doing this for a mission,' she thought to herself as she drank from a water bottle provided to them by the casino staff, 'The opinions of your heavily Asian family don't matter right now. You're basically a gang leader for fuck's sack!'

Despite her individual pep talk, the anxiety refused to leave, but the teen chose to ignore it in favor of looking at their venue.

They were performing in one of the ballrooms that had a stage at the front with multiple tables to the side with an open dance floor in the center.

By the time that the performance was supposed to start, the tables were full and the ravenette could see her companions standing in the back unscathed, but at the closest table to the stage she could see multiple of their targets.

As soon as the drummer finished counting off the first song, Rhamina started spreading her magic over the audience.

The song was of course a sultry jazz song that worked the female's lower range as she swayed to the beat.

It was about a soul who just wanted to have one last passionate night with their lover and as a pure romantic, the ravenette sold it completely as she took the mic and began weaving through some of the tables before returning to the stage for the end of the song.

Through the cheers and applause, the teen watched as many of their targets began to leave their table, leaving an older man alone at the table to continue watching the show.

Locking eyes with Cloud, Rhamina subtly nodded towards the leaving group before the next song started up.

The male followed her gaze and nodded back before getting the other girls to follow them out into the main casino.

As the group finished their set, the man never left, keeping his eyes glued onto the eighteen-year-old who practically ignored it until the show was over.

The group was basically surrounded by others who were telling them what a good job they did in their performance when the man approached her.

"Excuse me, Miss, but I must say that you gave a spectacular performance," he said as the female turned to face him, "You convey emotion well."

"Thank you very much, Mister," the ravenette said as she placed a hand over her heart, "The commentary means a lot."

"There is no need for formalities, you can just call me Robin," the man chuckled as he held his hand out to shake.

"Nice to meet you then, Robin," the female chirped as she took his hand with a smile, "I am called Hasu!"

Upon hearing the teen's performance name, Kiran looked over his shoulder to see the ravenette conversing with one of their targets, holding a thumbs up behind her back.

After a few minutes of talking about some random topic, Robin asked, "Hasu, do you happen to gamble?"

"That would depend on what type of game is being played," she replied with a small smirk, "What did you have in mind?"

"Just a simple game of poker, though I hope instead of gambling with money, you'd be okay with gambling favors," the male suggested, causing the female's heart to race with excitement.

"Raising the stakes are we?" the teen asked, nails digging into her wrists which she held behind her back, "I'm fine with that. That's what makes the game fun."

"So what exactly do you want from me if you win?" the ravenette asked as a casino employee led them to a private poker table.

"Your company for the rest of the night," the male replied as they took their seats, the dealer already shuffling the cards, "And you?"

"The honest answer to a few questions," Rhamina replied as she waited for her cards to be dealt to them, keeping her hands busy by playing with the poker chips.

"That's all you want from me?" Robin asked as they placed their starting bet, "Surely there must be more."

"I can't really think of anything else that I want," the female chuckled with a shrug as she checked her cards.

The game ended in about twenty minutes when the eighteen-year-old had run out of chips and lost the final game.

"Well, it looks like the goddess of luck had blessed you today," the teen sighed as she looked over to see that he had created a royal flush.

"Indeed she had," the male chuckled as they both stood to shake hands, "but I must say that was the most fun I've had in a game of poker, so I must thank you for that."

"I have to say the same," she replied with a bright smile before rolling her left shoulder back, "shall we go, then?"

"Indeed," the older male chuckled as he led the female over to an elevator that led to the attached hotel.

'Those little shits are probably fighting someone right now,' Rhamina thought as the elevator doors opened once again.

It was silent as the male led her down the empty marble hall and she knew something was up, he had lost that playful persona of his.

'That's how we're going to play?' she thought as he opened the door of a darkened hotel room to let her in.

When the lights came on, the room began to fill with a white gas and the teenager had turned around to see Robin in a gas mask.

As her body dropped to the ground, one last thought entered her head.

'Alright then... Let's play...'

About fifteen minutes later, the three other members of Apocalypse had made it to the top floor of the casino to see a very wobbly Rhamina held by two grunts as the older man held a pistol.

"Man, y'all are pretty stupid you know?" she giggled through her slurred speech, almost falling over if it weren't for the two holding onto her.

"So you're the three rats that sought us out?" Robin asked as he stepped forward, causing them to draw their weapons.

"Now, now, now, let's not do anything that might endanger the young lady," the man spoke as he cocked his gun and aimed it at the very giggly girl.

"What the fuck did you do to her?!" Kerstin growled, none of them backing down as the ravenette finally noticed her friends.

"There you guys are!" cooed the eighteen-year-old as she took a few wobbly steps forward, "You wouldn't believe how stupid these guys are, they blabbed about everything we needed!"

Before the teen could continue, the barrel of the pistol was aimed at her face causing a crazed glint to enter her eyes.

"Aw, is my chatter annoying to you?" she asked as she stepped forward so the weapon was resting right up against her forehead.

"What are you going to do? Shoot me? I honestly don't think you're motivated enough," the teen challenged as the three looked over at her in concern.

"What the fuck is she doing?" Sierra muttered as she looked to Kerstin who looked just as confused as her partners.

"I think she's finally lost it," the darkette replied as the older teen kept egging on the older male.

"Just pull the fucking trigger!"

Bang!

The three looked up in shock to see the ravenette completely fine as she held the man's wrist above her head, the gun still smoking towards the ceiling.

"Shame," the teen sighed in her normal tone of voice before she used her other freed hand to take the fun from this shocked grasp and shoot him in the leg.

"Looks like you were too slow," she continued as the two grunts just stared at her as she tossed the rope that was binding her to the side.

"How the hell did you get out?!" one of them asked before she cocked the gun once more with a closed eye smile.

"Y'all suck at tying knots," she replied before crippling them both as well, going to meet her companions who still stared at her in shock.

"Let's go, I know where Yukitara is," the ravenette spoke, ushering them out into the hall before leading them up to the roof, "Kiran should have told Hana already."

"Rhamina, what did they do to you?" Cloud asked, placing a hand on the female's shoulder as she looked to the sky for something.

"They gassed me with something that made my head go fuzzy, but that bang sobered me right up," she quickly explained before spotting a helicopter.

"That's her," Rhamina said as a ladder was lowered, "Come on we've got to go get Yukitara!"

"We're getting him now?" Kerstin asked as Sierra started climbing up the ladder despite all the wind being generated.

"Yep, if we don't, then that gives them a chance to move him," the ravenette explained, "one of them already went to report this, so up you go."

Once Kerstin was up Rhamina turned to Cloud and gestured to the ladder bet he shook his head and said, "I'll go up after you."

"Cloud, I'm wearing a dress," the eighteen-year-old deadpanned and before he could apologize, the female ushered him up, following closely behind.

"Thank you for doing this, Rhamina," Hana spoke from next to the pilot as they flew off to where her father was being held.

"Don't thank us yet," the ravenette spoke as her sibling noticed that the fifteen-year-old only thanked her, "Now we have to do the hard part."

"Not necessarily," the doll spoke as she gripped onto her parasol, " Not if I plan to tear their base to the ground."

"As you wish," Rhamina mused as she leaned back into her seat between Cloud and Sierra, "It is your turn after all."

Rhamina took the time in their flight to close her eyes and just breath.

Admittedly, all she wanted to do was just crash because being drugged wasn't fun, but she had responsibilities.

Her seatmates noticed this as they were quite tired as well, but said nothing and just took the time to rest and check their gear before arriving at a run down building where multiple people were already fighting.

As the helicopter hovered over the building Hana stepped up to the open side and her form radiated magic as she called, "Tower!"

Following her rising hand, a stone tower rose from the center of the building, ending just ten feet below the vehicle.

"Y'all stay here and take a break," Rhamina ordered as the younger girl lept down to her creation, slowly standing up, "Hana and I'll take care of the rest."

The teen then leapt down to the tower before anyone could protest and it began its quick descent into the building.

"Of course the brat is only taking Mina," Kerstin huffed as she looked to the hole left in the base of the opposing gang, "She didn't plan on taking the rest of us did she?"

"What do you mean?" the blond asked as the helicopter merely circled the building, giving them a good view of the fighting.

"Don't tell me that you haven't noticed how attached Hana is to Mina," the darkette said as she looked over to her teammate, "They go way back, but it's kind of fucking annoying."

"Yeah, but she is a force to be reckoned with, especially since Mina is the one who taught her how to use her magic," Sierra countered as she held her hammer between her legs.

"What kind of magic does she use?" Cloud asked as he looked over to the two teenagers next to him.

"She uses tarot magic or basically, she calls upon the spirits of the arcane to help do her bidding," Kerstin explained as she took out her phone.

"Have you noticed that all the people she trains end up being powerhouses?" the brunette asked from her spot.

"Really? Who did she train?" the seventeen-year-old questioned.

"Jessie."

"For real?"

"Yeah," Sierra confirmed as some bullets flew past the helicopter, "That month she spent in L.A. she was training Jessie and now he can kill a fucking dragon on his own."

Upon reaching the room where Yukitara was held, the two girls noticed two things; the man was alive, but he was being held in some sort of crystal.

"Can you take care of it?" the doll asked as the taller female stepped up to the large prism her father was suspended in.

"Of course I can," the ravenette chirped as she brought her hand up to the smooth surface with her hair floating behind her, "This isn't the worst thing I've had to consume you know."

The soft chime of a bell echoed in the room as the crystal began to melt, turning into a black liquid that crawled its way up the arm that was touching it.

Once the crystal was fully gone, Hana stepped forward to wake her father as the eighteen-year-old looked to her arm.

It looked as though the limb had been dyed black from the tips of her fingers up to her elbow, but she merely shrugged.

'I've dealt with worse,' she thought as the man caught sight of her.

"I heard you were out of commission for quite some time, Yukitara," the teen mused, placing her hand on her hip.

"Of course you would come running at the first sign of trouble," the Japanese man chuckled as he placed a large hand on his daughter's head, "Thank you for taking care of my daughter while I was away."

"Now, now. Let's not get things mixed up, I didn't do shit," the ravenette spoke before checking the time, "But we should get y'all home, it's getting late."

As the three Asians ran through the base who's owners were getting utterly destroyed they made it back to the original entry point where Hana once again summoned her tower.

"Looks like they've been having from," Rhamina hissed as she watched a shadow bird try to dive at the helicopter only for it to get shot at by Kerstin.

Upon seeing the tower, the pilot immediately flew over to allow them to board, but before Rhamina got on she pulled out one of her fans and threw it at the monster, severing one of its wings.

"Mina, what happened?" Sierra asked as they noticed her stained limb.

"I took another curse, it should be fully digested in a few houses though," the teen shrugged with a yawn.

"A curse?" Cloud questioned as the teen rested her head on his shoulder, not bothering to move upon seeing how exhausted the girl was.

"Yeah, or any magical ailments really," she muttered lazily, "My soul can break them down and consume them, and it speeds up or slows down depending on how much of my magic is being used."

With the main objective of their mission completed, the helicopter dropped the four off at the hotel before taking the two Yukitaras back to their home.

After taking the rest of the night and most of the next day to take a well deserved break, the four members of Apocalypse, both Yukitaras, and Kiran were taken to a Korean barbecue restaurant that was rented out for them that evening.

The conversation was filled with information on the group known as Scyphozoa; however, the tense subject was eventually broken by Hana.

"Rhamina, didn't you lose a game of poker to the man known as Robin?" the noirette asked before taking a sip of her tea.

"Yeah, I did, why?" the ravenette replied with a raised brow before eating some of the bulgogi she had been looking forward to the whole trip.

"I believe that you said you would dance for us if you lost a game of poker during your stay here," the fifteen-year-old smirked, causing the older female to choke on her food.

"Yeah, you did say that!" Kerstin chirped as she looked to the ravenette who was currently downing her water.

"And what do you know? There's a stage over there," Sierra added, gesturing to the large platform used for live performances.

"You want me to do that now?" Rhamina uttered with wide eyes as the brunette pulled a bluetooth speaker out of her bag.

"Okay, fuck all of you," the eighteen-year-old snapped as she took the speaker and walked up to the stage.

"How exciting, I get to see how much she's improved," mused Kiran as the female hooked up the speaker to her phone and set it to the back of the stage so she could hear it better.

Everyone put their attention on the female as she set at the center of the stage, kneeling in a bow towards the audience with the fan laid out in front of her.

Even if the girl wasn't in costume; Kiran, Hana, and Yukitara could tell that this would be a Japanese styled dance from the way she was set.

A few bars into the music the girl then sat up on her legs before flourishing the closed fan, allowing her gaze to follow the fluid motion.

As she stood up and stepped down the stage she made eye contact with her audience, making sure to keep her movements fluid and delicate.

The teen worked well to keep her movements loose and flowy so that the fan moved like a lead floating in the breeze.

She had excellent control of the fan and its extravagant movements as it blended well into her overall performance.

Even knowing close to nothing of the art form, the members of Apocalypse had to admit that the dance was stunning.

They could see each and every breath of the female took as she kept the soft smile on her face throughout the performance.

When the music ended and the female stood in her ending pose, those sitting at her table gave her a round of applause.

The ravenette then let out a sigh as she went to collect and return Sierra's speaker before saying, "There. Done. I did the thing."

"That was a wonderful performance, Hasu," the older Yukitara chuckled as she returned to their seat next to Kiran, "you should dance more often."

"Thanks, Yukitara, but I really don't have the time for when I have to make sure my kids don't die," Rhamina replied as she turned her attention back to her food.

"You did really good, Hasu," Kiran said as he patted the girl on the back, "You've come a long way since we were kids, you've a lot less tense now."

As the two got into a conversation about her performances, Cloud narrowed his eyes over at the male until a shadow stood over him.

"If you are available, I would like to speak with you outside for a moment," Hana requested in her usual flat tone.

No one paid the pair any mind as the doll led the blond right outside the large windows that gave a view to the table in the middle of the room.

"What did you want?" Cloud asked in a blunt tone as she crossed his arms over his chest and shifted his weight.

The emotionless female then surprised the male by giving a full, ninety degree, bow as she said, "I would like to personally thank you for helping to save my father."

"I was just following orders," the male shrugged as the female straightened herself out to stand while holding her hands clasped together at her stomach.

"Though that may be true, you still did it, so I thank you nonetheless," the noiret spoke, quickly bowing her head once more.

"Whatever," he sighed as he looked back inside to see Rhamina happily talking to Kiran, lightly shoving him with a smile on her face.

Following his gaze the female inwardly smirked before saying, "Rhamina speaks very highly of you, you know?"

"Huh?"

"She always sees the positive aspects of others she takes care for," Hana explained before letting out a sigh, "I just wish she would do the same for herself."

"What do you mean?" the male asked as he looked back over at the fifteen-year-old, catching the glint of an unknown emotion before it disappeared once more.

"Tell me," she started, looking straight into his bright blue eyes, "in the time that you've known her, have you seen her actually give herself a genuine compliment?"

"And I do not mean those jokes she throws out to give herself an illusion of an inflated ego," the teen clarified as she stepped closer to the man.

Cloud remained silent as he thought back to his interactions with the ravenette and he actually couldn't remember a single instance in which she gave herself genuine praise.

Hana then looked to the older female before saying, "I wish to be able to lead like her someday. I never noticed it much when we were younger, but she had many faces."

"I'm sure you've seen some of them already and I'm sure you've noticed how she has the respect, and in most cases friendships, of everyone in Apocalypse," she continued, stirring memories in the male of Rhamina's many personas, "Even here, not everyone had respect for me or even my father. Do you know how she gained that respect?"

"Not really," the blond admitted, "I never thought about it."

"While many would take being a multiple faced demon as a negative, she has learned to control each one and learned when to wear each one," the noirette explained, "That is how she gained the respect from others. She can read the atmosphere so easily and adjusts herself in response to it."

"Whether she is trying to comfort someone, gain the upper hand, or to even instill fear... she just knows," the fifteen-year-old continued, "I want to be able to lead like her."

"Why are you telling me all this?" Cloud sighed, grateful for the new information on the teen, but still confused as to why she would be revealing it to him.

"So you can get some insight on her true personality," Hana replied as she looked up to the twenty-one-year-old with a small smirk gracing her porcelain features, "Am I wrong to assume that you have taken an interest in Rhamina as a person rather than just simply your employer and boss?"

"What are you getting at?" the male snapped as heat flushed through his usually hardened form.

"No one would be staring at her for that long if they had no interest in her," the female continued as the ravenette looked at the two from her side of the glass, "Though if you really want her attention, you're going to have to be blunt."

"She's always been dense when it came to herself," Hana said as Rhamina stood up from her seat and walked out.

"You two alright?" the eighteen-year-old asked as she walked over, holding her hands behind her back, "You've been out here for awhile."

"Yes, we're fine," the doll replied as she turned to her long time friend, "Cloud and I were just talking about some things."

Now that the two stood side by side, the male noticed the stark contrast between the two females; from their looks, their personalities, and just the way they held themselves.

Despite their many differences, he could also tell they held some similarities as well; they both held a sense of unbreakable loyalty, the drive to become better in all aspects that they could manage, and their care for one another.

Cloud didn't have to know either one of them personally to see that they meant so much to each other.

He was brought back to reality with the sound of light laughter coming from both females.

"What?" he asked, defensively narrowing his eyes at the two.

"It's just that you looked really cute staring off like that," Rhamina explained with a soft smile as Hana used her wrist to hide her smirk at the male's reaction.

"Look at that, Rhamina, you've gone and made your brilliant swordsman flush," the fifteen-year-old teased in response to the bright blush that spread across the ex-SOLDIER's face.

"Hana, hush!" the eighteen-year-old chuckled as she looked away from the male who merely scoffed and began walking past them, towards the door.

"Cloud, wait! I'm sorry!" the ravenette cried as she reached over and latched onto the male's arm, causing him to tense.

"Please don't be mad," she said with her cheek lightly touching his bicep as she wore a lopsided smile with her eyes just looking up at his face.

The male just shook his head and pat her head, earning a happy trill before she let go, allowing everyone to walk back inside.

After everyone finished their very large meal filled with; lots of fun, drinking (mostly Kerstin), and dirty jokes (again, Kerstin) that were not really appreciated by the older Yukitara and Rhamina, they four from the Abyss were driven back to the hotel to pack up their things so they could leave as soon as they woke up the next morning.

As soon as the elevator reached the penthouse everyone started to their rooms, but as the ravenette was walking the world completely blacked out for a moment.

Before she could hit the ground Cloud, who was walking next to her, caught the teen by the shoulders and helped her steady herself.

"Are you okay?" he asked in mild concern as the female brought a hand up to her head.

"Yeah," came her breathy reply as she gave him a small smile, "My head just did something weird, I'm fine though."

"Are you sure?" he asked, keeping a careful hand on her elbow even as she started walking again.

"Yeah, I'm fine," she chirped, placing a reassuring hand on top of his, "Just go and pack up, okay?"

Even though he didn't believe her words, the male released her, albeit reluctantly, before he retreated into his own room.

Once the ravenette was back in her room, she tried to brush off what just happened, but still couldn't shake off the looming dread she felt as she packed up her things.

Early the next morning, the four ate breakfast before meeting Hana and her father in the lobby to return the key cards to the penthouse.

"Thank you for letting us stay here," Rhamina said as she gave a bow to the father and daughter, "May your future endeavors be blessed."

"There is no need to thank us, Rhamina," the older male spoke with a chuckle, "You were doing your duty as a leader and an ally."

"Indeed," Hana agreed as the ravenette straightened her posture, "Without all of you, we would have been much less efficient."

"Well, see you guys when the occasion rises again and don't forget to get those deliveries over to us asap," Kerstin spoke before the four made their way over to their vehicles.

Once all of their things were loaded into the van, Sierra got in the driver's seat, Kerstin got into the passenger's seat, and Rhamina got into the second row of seats while Cloud started up his bike.

By the time the group returned to the Abyss the sun was higher in the sky, but it was still morning.

When Rhamina collected her things, they walked back into their building with Cloud since the other two had some other appointments to take care of before settling back in.

"So do you think you have a better feel of the San Diego area now?" the ravenette questioned as they ascended in the elevator.

"Yeah, it's not much bigger than Midgar," he explained before a comfortable silence overtook the pair.

When they exited the elevator on their floor, the two walked over to their doors before pausing to face each other.

"Thanks for coming with us, Cloud, I know I wasn't with you for much of the fighting, but you did good!" the female praised as she gave him a hug.

"Well, I better start unpacking," she sighed as she pulled away, "I've got work later today and it's a Friday, so I'm working late tonight."

~~~Fin. Chapter 8~~~

Masterlist

[heathersmithstarr]

What drives an author?

Sometimes I think about the different elements to a story that acts as the driving force. Whenever I’m reading a book or even watching a show or movie, the number one thing I always connect with is the web of relationships built within a story. Not everyone shares this view. Some are in it for the adventure, the fantasy, or even the darker side of life. Whatever it is each writer is different and each reader interprets the material differently.

When I write a book my main concern is, am I conveying these characters connections enough? I want a reader to laugh at their bad jokes, shy away from embarrassing moments, or feel their chests go full and heavy during an intimate moment that was built up over time. Those moments are important to me, because that’s how I connect to everything I do. Some stories are different. For example, Eragon by Christopher Paolini, his series is all about Eragon’s journey to becoming a dragon rider. Yes, of course I care about the main character over the arch of the story but the main telling in the book is about his journey, his adventure to discovering the legacy of dragon riders and his own past. Harry Potter is about friend ship, love being more powerful than evil. There’s a message in every one of J.K. Rowling’s books.

For me, anytime I write I am reminded of a behind the scenes clip I watched for Charmed. Not the new garbage released by the CW, the original badass sisters. Yes, Charmed is and always be my all-time favorite television series, Buffy coming in a good second. Anyways back to what I was saying. One of the Charmed creators discussed the creating of the show and he said, “It’s about three sisters who happen to be witches, not three witches who have to be sisters.” Ever since I saw that interview, something clicked. I finally understood why I had such an understanding with Charmed. Why nearly every episode made me cry. Why every time Leo and Piper fought, I got so emotionally invested. Because it was about the people, not the magic. The sisterhood always came first, their relationships are what hooked us all in.

You can call me a hopeless romantic or whatever you like but relationships to me are one of the most important parts to a story. Cassandra Clare, author of The Mortal Instruments, Dark Artifices, and Infernal Devices, does an amazing job at this. Each book, no matter how many characters, she makes you fall in love with each and every one of them. You instantly become attached and concerned for each of the characters in her book. She string’s each of her characters, weaving them all in tightly together into such a tangled web of love, friendship, and loyalty, that makes you stay up till 3 in the morning trying to find out what happens next.

Now I know I’m not gonna win any points for this, you may hate me, mind you I am obsessed with the show, yes even the last season, but Game of Thrones books ... I can’t stand them. Too many characters and not enough fluidity in the chapters to draw me into each one. They felt choppy and disconnected. The show had a better time connecting the characters than I feel the books did. I was totally that person who skipped through the book only following a handful of characters throughout the bookseries. I just couldn’t get invested in some of them, no matter how hard I tried.

An author’s story language is what keeps them coming back for more. There are about four authors that I follow religiously, buying up each new book as soon as it hits the shelves. What keeps me coming back? The relationships. The way the author is able to weave a story through people, not an epic journey, not on some mysterious quest, but the people we experience those journeys through. That’s what I hope to convey with my own writing.

[theinquisitivej]

Spiderman: Far From Home – A Movie Review

After an animated masterpiece gave us what many consider to be the new best Spider-Man film, and after a monumental finale to a developing narrative that was twenty-two movies in the making, what hope does a sequel to Spider-Man: Homecoming, a movie praised by many but seen by others as not much more than just middle-of-the-road, have of satisfying an audience who have been especially well catered for when it comes to superhero movies connected to the man who does whatever a spider can?

Well, it turns out it’s got a pretty good shot, because I got a lot more out of Spider-Man: Far from Home than I ever expected I would.

         Jon Watts returns from Spider-Man: Homecoming as the director for its sequel, and with that comes a cemented sense of identity, as Far from Home takes the praiseworthy parts of Homecoming’s personality and places even more emphasis on those elements. The aesthetic for the Home series isn’t as palpably noticeable as something like Guardians of the Galaxy or Taika Waititi’s Thor: Ragnarok, but it nevertheless maintains a consistent tone with the previous film which makes this particular perspective of the MCU feel lived in. There’s a charmingly grounded feel to how characters will engage in idle conversation about certain major events from other MCU films in a way that jokingly downplays moments or story beats that were presented with heart-wrenching gravitas in other films. It’s amusing for invested audience members, but it’s also an effective method of reminding you that this world is inhabited by a population who are routinely affected by world-spanning comic book shenanigans, but don’t have the advantage of hearing first hand what the hell is going on. As such, developments like Captain America going on the run become background news that gym teachers are only semi-aware of in the previous film, and, in Far From Home, the “blip” that erased half the population then brought them back 5 years later is just another thing that people have grown to live with. The film even feels comfortable enough to use it for comedic effect when one of the characters uses the blip to put Flash in his place when he’s being insufferable, and that is so endearing. As a result, while the visual aesthetics of these MCU Spider-Man films may not be as immediately striking or distinctive as other branches of this franchise, they provide a consistent tone of down-to-earth sincerity and people just getting on with their lives that makes them really pleasant experiences.  

         And while last year’s Ant-Man and the Wasp was an enjoyably sprightly heist movie which nevertheless felt out of place and too rushed out after we were still reeling from the weighty punch of Infinity War, Far from Home not only improves on its namesake predecessor, but also acts as a remarkably suitable follow-up to Endgame. The sombreness of Endgame’s first half and the epic scale of its second half are contrasted by the everyday levity and more personal stakes shown in this film. The action is inventive and varied enough that you’re interested to see how Spider-Man deals with foes we’re not used to seeing cinematic depictions of him fight against (elemental and… other, more spoiler-y threats), in environments that are labelled as ‘far from home’, outside of his typical comfort zone of New York. The comedy works because of a comforting sense of cohesion to the characters which make them work well together, and yet the dialogue is natural and flexible enough that you always see the individual traits of each character shine through. With a diverse cast of commendable talents like this, that’s a treat.

         But while the film is a remarkably appreciated light-hearted palate cleanser, that doesn’t mean it’s pulling its punches with its heavier dramatic moments. This film deals with a teenager who watched someone he looked up to die in front of his eyes, and is now confronted with a world filled with iconography and heated discussion about that idol, and some of that fervent conversation is even directed at him as everyone asks if he will be the person to step up and take the place of his hero. It’s an emotional state that makes you feel so much for Peter, especially as Tom Holland has gone from strength to strength and solidifies himself as the definitive version of a young Peter Parker in my eyes. He’s killing it in this, selling the subtle balance between Peter having some newfound confidence to be able to stand up for himself and make his own decisions about what he wants and who he is, while also being racked with guilt, expressing uncertainty of the world of large-scale superheroics that he’s had a taste of but isn’t sure he wants to go back to, and retrospectively questions his own actions. A subtle detail in the film that does a lot to convey Peter’s current state of mind is his spidey-sense (Peter-tingle) not being quite as sharp as we might expect it to be – Peter is having trouble trusting his instincts. This, and his general anxiety over where he’s heading and his fears of the past are masterfully represented in one reality-bending sequence which shows some of the darkest imagery Marvel has ever put in their films as it puts all of Peter’s inner turmoil and doubts up onto the screen.

SPOILERS IN NEXT PARAGRAPH

         But what works especially well in this film for me is how it creates these brilliant parallels to the first Iron Man to commendable effect. Both films feature ceremonies near their opening in which the hero is expected to attend and someone close to them criticises them for not quite presenting themselves correctly (if at all), as well as protagonists who question how the legacy that’s been left to them should be best used, villains who seek to use that legacy and the technology of Tony Stark for their own selfish ends (and both villains use the distraction of a more immediate seeming threat to disguise their manipulations behind the scenes), before concluding with the heroes having their secret identity revealed to the world. And of course, both feature tech-savvy geniuses working on their superhero suit in a holographic workshop while ACDC music plays, and the only thing I love more than that unspoken “this kid has everything in him that made Tony Stark great without him realising it” moment is Peter saying “Oh I love Led Zeppelin”. These parallels allow for a neat bookend of this whole arc of the MCU with Iron Man starting us off while Far from Home brings it, well, home. But they also reinforce the main theme of Peter’s emotional journey as he asks himself if he can, or should be the next Iron Man. The answer, as Happy tells us, is that no one could live up to Tony Stark, not even Tony. Peter doesn’t need to worry about being the next version of someone else, but the first version of himself. The film uses these connections between his character and Tony’s, between Far from Home and Iron Man to show us that we can move forward with confidence as we establish our own identity and take the parts of the people who inspire us along with us. Far from Home echoes a lot of the characteristics of Iron Man but ends up being something new, and it is exactly in that way that Peter ends up honouring Tony’s memory while still moving forward by the end of the film.  

         There’s a lot at play which could have stacked the deck against this film being a critical success; between the explosion of artistic creativity on display in last year’s singular Into the Spider-Verse, and Endgame’s entanglement with gargantuan levels of audience investment allowing for once-in-a-lifetime emotional payoff, I expected for a long time that Far From Home would be unfavourably compared to these two relatively recent blockbuster triumphs. But it was exactly the film I needed for this series after Endgame, and full kudos to the showrunners, I wasn’t anticipating that. It’s packed with youthful sincerity, delivers an adventure with scaled back yet more personal stakes which makes the whole thing feel that much more meaningful, and while I enjoyed seeing the kids in their own environment in the school in the last one, the trip through Europe makes it an enjoyable journey. The more time passes, the more I appreciate about what it achieves under the surface with its character development, inspired connection with other films in the series, and its ability to capture the experience of trying to find your way.

Final Ranking: Silver.

When all the threads of the MCU have been tied up by Endgame, who better than a spider to start weaving the first strands of the next web.

[juliadgomezus]

12 Uncommon Literary Devices to Give Your Writing Irresistible Style

So I bummed this book from a neighbor. It’s a book on classic English rhetoric. Or verbal style.

She initially pulled it off her shelf to show me because of the name of the author: Ward Farnsworth.

Not an exact rendering of my last name (it’s Farnworth, no “s”). And that’s not pretentious posturing on my part — it has been that way for generations.

But it didn’t really matter who wrote the book. I fell in love with it on the spot.

Each chapter is devoted to a literary device like anaphora, chiasmus, and litotes That may sound like nonsense to you, but they’re just fancy words for rhetorical devices you’ll quickly recognize.

Furthermore, each device is broken down into subspecies, complete with examples from notable sources like Shakespeare, Churchill, Chesterton, and the Bible (and I threw in a few by Tupac Shukar, Monty Python and the Holy Grail, and Bob Dylan).

What is a literary device?

Before diving into these uncommon literary devices, let’s take a quick detour.

Talking about literary devices, figures of speech and writing style can be intimidating for many.

After scouring the web and referring to a few additional books, I didn’t come across an agreed upon definition of literary devices. So here’s my take:

A literary device is a technique you can use to create a special effect on your writing.

Think about it this way.

When writing a story or making a point, you can just use the facts, which is totally fine for in some cases like journalism, or you can liven things up a bit with a literary device.

Here’s an example of a literary device to illustrate what I’m talking about:

“The rain was heavy this afternoon as I walked to my car.”

“The rain played tag with me as I ran to my car to get shelter.”

The first sentence is just a statement about the rain. It is what it is. It’s like a reporter sharing her observation about today’s weather, and it doesn’t lead the reader to think anything specific about the rain.

The second sentence basically says the same thing. To make the rain come alive (“The rain played tag”), I used a literary device known as personification to create an image in the mind of the reader. I mean, who hasn’t tried to run away from the rain?

Literary devices are tools writers can use that are similar to tactics producers can use in film, television, or theater. By adding makeup, using costumes, or utilizing computer graphics, producers can create special effects to convey a specific visual.

Here’s one example of before-and-after scenes using special effects:

Sure, the producer could have asked the actor to wear a costume or put on makeup. But you have to admit; the computer graphics really takes the look of this character to the next level.

This is really how literary devices work in their basic form. They can add special effects to your writing and transform the experience of your readers.

Why literary devices are essential to web writing

There’s a lot of good substance out there. Hardly any style, though. This isn’t an accident.

Most people who peddle content are tradespeople first, writers second. In other words, their authority rests in a discipline other than writing.

Sometimes their content feels as if it’s meant to feed a machine when the creator will tell you plainly that is not the case. They are writing for people, which is one key to writing a blog post people will actually read.

Fair enough. But technical writers also write for people.

A list of literary devices to add style to your content

I look at some pieces, though, and I think the designer probably got paid really good money. The writer, not so much.

This is not to say style should be a pretentious exercise in drawing attention to itself. It should not be a navel-gazing sentence by James Joyce or a long-winded, baroque one from Faulkner (whom I adore).

Great web writing demands the plainness of Hemingway and the clarity of Orwell and the playfulness of E. E. Cummings. And you can do it while honoring the simplicity of Strunk.

And mastering these 12 uncommon literary devices from Mr. Farnsworth’s book is a great place to start if you are a greenhorn … a great place to beef up your skill set if you are a veteran. Enjoy.

1. Epizeuxis

Epizeuxis is a simple repetition of words and phrases. This literary device is often used for emphasis, and oftentimes, there are no additional words in between. The quick repetition of words or phrases will arrest the attention of your readers.

Epizeuxis examples:

“Holy, holy, holy is the Lord of hosts; the whole earth is full of his glory!”

Isaiah 6:3

“Never give in — never, never, never, never, in nothing great or small, large or petty, never give in except to convictions of honour and good sense. Never yield to force; never yield to the apparently overwhelming might of the enemy.”

Winston Churchill

“But you never know now do you now do you now do you.”

David Foster Wallace, Brief Interviews with Hideous Men

2. Anaphora

Anaphora is repetition at the beginning of successive statements. In writing or speeches, you can use this literary device to create an artistic effect, or you can repeat one phrase to weave together several points together.

Anaphora examples:

Mad world! Mad kings! Mad composition!

William Shakespeare, King John, II

But woe unto you, scribes and Pharisees, hypocrites! for ye shut up the kingdom of heaven against men: for ye neither go in yourselves, neither suffer ye them that are entering to go in.

Woe unto you, scribes and Pharisees, hypocrites! for ye devour widows’ houses, and for a pretense make long prayer: therefore ye shall receive the greater damnation.

Woe unto you, scribes and Pharisees, hypocrites! for ye compass sea and land to make one proselyte, and when he is made, ye make him twofold more the child of hell than yourselves.

Woe unto you, ye blind guides, which say, Whosoever shall swear by the temple, it is nothing; but whosoever shall swear by the gold of the temple, he is a debtor!

Matthew 23:13-16

3. Epistrophe

Epistrophe is similar to anaphora, but with a twist—this literary device uses repetition of words or phrases at the end.

Epistrophe examples:

When I was a child, I spoke as a child, I understood as a child, I thought as a child.

1 Corinthians 13:11 (King James Translation)

“What lies behind us and what lies before us are tiny compared to what lies within us.”

Ralph Waldo Emerson

“There is no Negro problem. There is no Southern problem. There is no Northern problem. There is only an American problem.”

Lyndon B. Johnson in “We Shall Overcome”

4. Anadiplosis

Abnadiplosis is the repetition of a word or phrase at the beginning and end of a sentence. This literary device creates a sweet flow in certain forms of writing.

Abnadiplosis examples:

“Fear leads to anger. Anger leads to hate. Hate leads to suffering.”

Yoda, Star Wars

“We also rejoice in our sufferings, because we know that suffering produces perseverance; perseverance, character; and character, hope. And hope does not disappoint us.”

Romans 5:3–5

“The frog was a prince / The prince was a brick / The brick was an egg / The egg was a bird”

Genesis, “Supper’s Ready”

5. Polyptoton

Polyptoton is unique in that it’s a repetition of the root word. For example, you can use similar words like “strength” and “strong” instead of just repeating the same word.

Polyptoton examples:

“It is the same with all the powerful of to-day; it is the same, for instance, with the high-placed and high-paid official. Not only is the judge not judicial, but the arbiter is not even arbitrary.”

— G.K. Chesterton, The Man on Top

“Judge not, that ye be not judged.”

Matthew 7:1

“Not as a call to battle, though embattled we are.”

John F. Kennedy, Inaugural Address, January 20, 1961

“Absolute power corrupts absolutely.”

Lord Acton

6. Isocolon

Isocolon is a literary device you can use to create parallel structures in your length and rhythm.

Isocolon examples:

“Melts in your mouth, not in your hands.”

M&Ms

“With malice toward none, with charity toward all, with firmness in the right…”

Abraham Lincoln, Second Inaugural Address

“I’m a Pepper, he’s a Pepper, she’s a Pepper, we’re a Pepper — Wouldn’t you like to be a Pepper, too? Dr. Pepper!”

Dr. Pepper advertising jingle

“Heal the sick, cleanse the lepers, raise the dead, cast out devils: freely ye have received, freely give.”

Matthew 10:8

7. Chiasmus

Chiasmus is a reversal structure used for artistic effect. With this literary device, you basically criss-cross phrases to convey a similar—not identical—meaning.

Chiasmus examples:

“Mankind must put an end to war or war will put an end to mankind.”

John F. Kennedy

“Woe unto that call evil good, and good evil; that put darkness for light, and light for darkness; that put bitter for sweet, and sweet for bitter!”

Isaiah 5:20

“They say money don’t make the man but man, I’m makin’ money.”

Tupac Shakur, “Thug Passion”

8. Anastrophe

Anastrope refers to an inversion of words, which will make perfect sense in a moment (assuming your a fan of Star Wars). You can use this literary device to emphasize a word or phrase.

Anastrope examples:

” Deep into that darkness peering, long I stood there wondering, fearing.”

Edgar Allan Poe, “The Raven”

“Joined the Dark Side, Dooku has. Lies, deceit, creating mistrust are his ways now.”

Yoda

“I sing of arms and the man, who first from the shores of Troy.”

Virgil, the first line of Aeneid

“Never have I found the limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance”

Eugene Smith

“Her mother is the lady of the house, And a good lady, and wise and virtuous. I nursed her daughter that you talked withal. I tell you, he that can lay hold of her, Shall have the chinks.”

Shakespeare, Romeo and Juliet

9. Polysyndeton

Polysyndeto is a literary device where you use extra conjunctions (e.g., and, but)—frequently in quick succession—to create a stylistic effect.

Polysyndeton examples:

“And every living substance was destroyed which was upon the face of the ground, both man, and cattle, and the creeping things, and the fowl of the heaven; and they were destroyed from the earth: and Noah only remained alive, and they that were with him in the ark.”

Genesis 7:3

“If there be cords, or knives, or poison, or fire, or suffocating streams, I’ll not endure it”

Shakespeare, Othello

“And St. Attila raised his hand grenade up on high saying ‘O Lord bless this thy hand grenade that with it thou mayest blow thine enemies to tiny bits, in thy mercy. ‘and the Lord did grin and people did feast upon the lambs and sloths and carp and anchovies and orangutans and breakfast cereals and fruit bats and …'”

Monty Python and the Holy Grail

“I said, ‘Who killed him?�� and he said ‘I don’t know who killed him, but he’s dead all right,’ and it was dark and there was water standing in the street and no lights or windows broke and boats all up in the town and trees blown down and everything all blown and I got a skiff and went out and found my boat where I had her inside Mango Key and she was right only she was full of water.”

Ernest Hemingway, “After the Storm.”

10. Asyndeton

Asyndeton is a writing style where you leave out conjunctions to write direct statements for effect. If used correctly, this literary device can create a beautiful, memorable rhythm in your writing.

Asyndeton examples:

“We shall go on to the end, we shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our Island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender. . .”

Winston Churchill, “We Shall Fight on the Beaches”

“…and that government of the people, by the people, for the people shall not perish from the earth.”

Abraham Lincoln, Gettysburg Address

“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.”

John F. Kennedy, Inaugural Address

“And whatsoever mine eyes desired I kept not from them, I withheld not my heart from any joy; for my heart rejoiced in all my labour: and this was my portion of all my labour.”

Ecclesiastes 2:10

11. Litotes

Litotes is a figure of speech you can use to affirm something positive by making an understatement. After you take a gander at the examples below, you’ll see that this literary device is commonly used in everyday conversations and popular literature.

Litotes examples:

“Not bad” (to say something is good)

“He’s not as young as he used to be” (meaning “he’s old”)

“Keep an eye on your mother whom we both know doesn’t have both oars in the water.”

Jim Harrison, The Road Home

“I will multiply them, and they shall not be few; I will make them honored, and they shall not be small.”

Jeremiah 30:19

“Are you also aware, Mrs. Bueller, that Ferris does not have what we consider to be an exemplary attendance record?”

Ferris Bueller’s Day Off

12. Hypophora

In short, hypophora is when you ask a question and then answer the question you just asked. Unlike a rhetorical question, to use this literary device, you’ll need to answer the question you pose immediately.

Hypophora examples:

“What made me take this trip to Africa? There is no quick explanation. Things got worse and worse and worse and pretty soon they were too complicated.”

Saul Bellow, Henderson the Rain King

Are they Hebrews? So am I. Are they Israelites? So am I. Are they the seed of Abraham? So am I.

1 Corinthians 11:21-22

“Oh, what did you see, my blue-eyed son?

Oh, what did you see, my darling young one?

I saw a newborn baby with wild wolves all around it

I saw a highway of diamonds with nobody on it,

I saw a black branch with blood that kept drippin’,

I saw a room full of men with their hammers a-bleedin’,

I saw a white ladder all covered with water,

I saw ten thousand talkers whose tongues were all broken,

I saw guns and sharp swords in the hands of young children,

Bob Dylan, “A Hard Rain’s A-Gonna Fall.”

Another warning literary devices and style

I admit.

This could be an exercise in dilettantism. An argument for fashion over function. In the hard and fast competition found on a search results page, most people just want answers to their questions. They want substance over style. Function over fashion.

Fair enough.

That, however, is only true in a market that is not saturated. If you hobnob in an industry drowning in competitors, on the other hand, then substance alone is not enough. You need style — among other things — to stand out.

So, bookmark this post, then carve out some time to study these devices.

Question: How many of these devices did I use in this article?

The post 12 Uncommon Literary Devices to Give Your Writing Irresistible Style appeared first on Copybot.

from SEO Tips https://thecopybot.com/literary-devices-web-style/

[adolphkwinter]

12 Uncommon Literary Devices to Give Your Writing Irresistible Style

So I bummed this book from a neighbor. It’s a book on classic English rhetoric. Or verbal style.

She initially pulled it off her shelf to show me because of the name of the author: Ward Farnsworth.

Not an exact rendering of my last name (it’s Farnworth, no “s”). And that’s not pretentious posturing on my part — it has been that way for generations.

But it didn’t really matter who wrote the book. I fell in love with it on the spot.

Each chapter is devoted to a literary device like anaphora, chiasmus, and litotes That may sound like nonsense to you, but they’re just fancy words for rhetorical devices you’ll quickly recognize.

Furthermore, each device is broken down into subspecies, complete with examples from notable sources like Shakespeare, Churchill, Chesterton, and the Bible (and I threw in a few by Tupac Shukar, Monty Python and the Holy Grail, and Bob Dylan).

What is a literary device?

Before diving into these uncommon literary devices, let’s take a quick detour.

Talking about literary devices, figures of speech and writing style can be intimidating for many.

After scouring the web and referring to a few additional books, I didn’t come across an agreed upon definition of literary devices. So here’s my take:

A literary device is a technique you can use to create a special effect on your writing.

Think about it this way.

When writing a story or making a point, you can just use the facts, which is totally fine for in some cases like journalism, or you can liven things up a bit with a literary device.

Here’s an example of a literary device to illustrate what I’m talking about:

“The rain was heavy this afternoon as I walked to my car.”

“The rain played tag with me as I ran to my car to get shelter.”

The first sentence is just a statement about the rain. It is what it is. It’s like a reporter sharing her observation about today’s weather, and it doesn’t lead the reader to think anything specific about the rain.

The second sentence basically says the same thing. To make the rain come alive (“The rain played tag”), I used a literary device known as personification to create an image in the mind of the reader. I mean, who hasn’t tried to run away from the rain?

Literary devices are tools writers can use that are similar to tactics producers can use in film, television, or theater. By adding makeup, using costumes, or utilizing computer graphics, producers can create special effects to convey a specific visual.

Here’s one example of before-and-after scenes using special effects:

Sure, the producer could have asked the actor to wear a costume or put on makeup. But you have to admit; the computer graphics really takes the look of this character to the next level.

This is really how literary devices work in their basic form. They can add special effects to your writing and transform the experience of your readers.

Why literary devices are essential to web writing

There’s a lot of good substance out there. Hardly any style, though. This isn’t an accident.

Most people who peddle content are tradespeople first, writers second. In other words, their authority rests in a discipline other than writing.

Sometimes their content feels as if it’s meant to feed a machine when the creator will tell you plainly that is not the case. They are writing for people, which is one key to writing a blog post people will actually read.

Fair enough. But technical writers also write for people.

A list of literary devices to add style to your content

I look at some pieces, though, and I think the designer probably got paid really good money. The writer, not so much.

This is not to say style should be a pretentious exercise in drawing attention to itself. It should not be a navel-gazing sentence by James Joyce or a long-winded, baroque one from Faulkner (whom I adore).

Great web writing demands the plainness of Hemingway and the clarity of Orwell and the playfulness of E. E. Cummings. And you can do it while honoring the simplicity of Strunk.

And mastering these 12 uncommon literary devices from Mr. Farnsworth’s book is a great place to start if you are a greenhorn … a great place to beef up your skill set if you are a veteran. Enjoy.

1. Epizeuxis

Epizeuxis is a simple repetition of words and phrases. This literary device is often used for emphasis, and oftentimes, there are no additional words in between. The quick repetition of words or phrases will arrest the attention of your readers.

Epizeuxis examples:

“Holy, holy, holy is the Lord of hosts; the whole earth is full of his glory!”

Isaiah 6:3

“Never give in — never, never, never, never, in nothing great or small, large or petty, never give in except to convictions of honour and good sense. Never yield to force; never yield to the apparently overwhelming might of the enemy.”

Winston Churchill

“But you never know now do you now do you now do you.”

David Foster Wallace, Brief Interviews with Hideous Men

2. Anaphora

Anaphora is repetition at the beginning of successive statements. In writing or speeches, you can use this literary device to create an artistic effect, or you can repeat one phrase to weave together several points together.

Anaphora examples:

Mad world! Mad kings! Mad composition!

William Shakespeare, King John, II

But woe unto you, scribes and Pharisees, hypocrites! for ye shut up the kingdom of heaven against men: for ye neither go in yourselves, neither suffer ye them that are entering to go in.

Woe unto you, scribes and Pharisees, hypocrites! for ye devour widows’ houses, and for a pretense make long prayer: therefore ye shall receive the greater damnation.

Woe unto you, scribes and Pharisees, hypocrites! for ye compass sea and land to make one proselyte, and when he is made, ye make him twofold more the child of hell than yourselves.

Woe unto you, ye blind guides, which say, Whosoever shall swear by the temple, it is nothing; but whosoever shall swear by the gold of the temple, he is a debtor!

Matthew 23:13-16

3. Epistrophe

Epistrophe is similar to anaphora, but with a twist—this literary device uses repetition of words or phrases at the end.

Epistrophe examples:

When I was a child, I spoke as a child, I understood as a child, I thought as a child.

1 Corinthians 13:11 (King James Translation)

“What lies behind us and what lies before us are tiny compared to what lies within us.”

Ralph Waldo Emerson

“There is no Negro problem. There is no Southern problem. There is no Northern problem. There is only an American problem.”

Lyndon B. Johnson in “We Shall Overcome”

4. Anadiplosis

Abnadiplosis is the repetition of a word or phrase at the beginning and end of a sentence. This literary device creates a sweet flow in certain forms of writing.

Abnadiplosis examples:

“Fear leads to anger. Anger leads to hate. Hate leads to suffering.”

Yoda, Star Wars

“We also rejoice in our sufferings, because we know that suffering produces perseverance; perseverance, character; and character, hope. And hope does not disappoint us.”

Romans 5:3–5

“The frog was a prince / The prince was a brick / The brick was an egg / The egg was a bird”

Genesis, “Supper’s Ready”

5. Polyptoton

Polyptoton is unique in that it’s a repetition of the root word. For example, you can use similar words like “strength” and “strong” instead of just repeating the same word.

Polyptoton examples:

“It is the same with all the powerful of to-day; it is the same, for instance, with the high-placed and high-paid official. Not only is the judge not judicial, but the arbiter is not even arbitrary.”

— G.K. Chesterton, The Man on Top

“Judge not, that ye be not judged.”

Matthew 7:1

“Not as a call to battle, though embattled we are.”

John F. Kennedy, Inaugural Address, January 20, 1961

“Absolute power corrupts absolutely.”

Lord Acton

6. Isocolon

Isocolon is a literary device you can use to create parallel structures in your length and rhythm.

Isocolon examples:

“Melts in your mouth, not in your hands.”

M&Ms

“With malice toward none, with charity toward all, with firmness in the right…”

Abraham Lincoln, Second Inaugural Address

“I’m a Pepper, he’s a Pepper, she’s a Pepper, we’re a Pepper — Wouldn’t you like to be a Pepper, too? Dr. Pepper!”

Dr. Pepper advertising jingle

“Heal the sick, cleanse the lepers, raise the dead, cast out devils: freely ye have received, freely give.”

Matthew 10:8

7. Chiasmus

Chiasmus is a reversal structure used for artistic effect. With this literary device, you basically criss-cross phrases to convey a similar—not identical—meaning.

Chiasmus examples:

“Mankind must put an end to war or war will put an end to mankind.”

John F. Kennedy

“Woe unto that call evil good, and good evil; that put darkness for light, and light for darkness; that put bitter for sweet, and sweet for bitter!”

Isaiah 5:20

“They say money don’t make the man but man, I’m makin’ money.”

Tupac Shakur, “Thug Passion”

8. Anastrophe

Anastrope refers to an inversion of words, which will make perfect sense in a moment (assuming your a fan of Star Wars). You can use this literary device to emphasize a word or phrase.

Anastrope examples:

” Deep into that darkness peering, long I stood there wondering, fearing.”

Edgar Allan Poe, “The Raven”

“Joined the Dark Side, Dooku has. Lies, deceit, creating mistrust are his ways now.”

Yoda

“I sing of arms and the man, who first from the shores of Troy.”

Virgil, the first line of Aeneid

“Never have I found the limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance”

Eugene Smith

“Her mother is the lady of the house, And a good lady, and wise and virtuous. I nursed her daughter that you talked withal. I tell you, he that can lay hold of her, Shall have the chinks.”

Shakespeare, Romeo and Juliet

9. Polysyndeton

Polysyndeto is a literary device where you use extra conjunctions (e.g., and, but)—frequently in quick succession—to create a stylistic effect.

Polysyndeton examples:

“And every living substance was destroyed which was upon the face of the ground, both man, and cattle, and the creeping things, and the fowl of the heaven; and they were destroyed from the earth: and Noah only remained alive, and they that were with him in the ark.”

Genesis 7:3

“If there be cords, or knives, or poison, or fire, or suffocating streams, I’ll not endure it”

Shakespeare, Othello

“And St. Attila raised his hand grenade up on high saying ‘O Lord bless this thy hand grenade that with it thou mayest blow thine enemies to tiny bits, in thy mercy. ‘and the Lord did grin and people did feast upon the lambs and sloths and carp and anchovies and orangutans and breakfast cereals and fruit bats and …'”

Monty Python and the Holy Grail

“I said, ‘Who killed him?’ and he said ‘I don’t know who killed him, but he’s dead all right,’ and it was dark and there was water standing in the street and no lights or windows broke and boats all up in the town and trees blown down and everything all blown and I got a skiff and went out and found my boat where I had her inside Mango Key and she was right only she was full of water.”

Ernest Hemingway, “After the Storm.”

10. Asyndeton

Asyndeton is a writing style where you leave out conjunctions to write direct statements for effect. If used correctly, this literary device can create a beautiful, memorable rhythm in your writing.

Asyndeton examples:

“We shall go on to the end, we shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our Island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender. . .”

Winston Churchill, “We Shall Fight on the Beaches”

“…and that government of the people, by the people, for the people shall not perish from the earth.”

Abraham Lincoln, Gettysburg Address

“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.”

John F. Kennedy, Inaugural Address

“And whatsoever mine eyes desired I kept not from them, I withheld not my heart from any joy; for my heart rejoiced in all my labour: and this was my portion of all my labour.”

Ecclesiastes 2:10

11. Litotes

Litotes is a figure of speech you can use to affirm something positive by making an understatement. After you take a gander at the examples below, you’ll see that this literary device is commonly used in everyday conversations and popular literature.

Litotes examples:

“Not bad” (to say something is good)

“He’s not as young as he used to be” (meaning “he’s old”)

“Keep an eye on your mother whom we both know doesn’t have both oars in the water.”

Jim Harrison, The Road Home

“I will multiply them, and they shall not be few; I will make them honored, and they shall not be small.”

Jeremiah 30:19

“Are you also aware, Mrs. Bueller, that Ferris does not have what we consider to be an exemplary attendance record?”

Ferris Bueller’s Day Off

12. Hypophora

In short, hypophora is when you ask a question and then answer the question you just asked. Unlike a rhetorical question, to use this literary device, you’ll need to answer the question you pose immediately.

Hypophora examples:

“What made me take this trip to Africa? There is no quick explanation. Things got worse and worse and worse and pretty soon they were too complicated.”

Saul Bellow, Henderson the Rain King

Are they Hebrews? So am I. Are they Israelites? So am I. Are they the seed of Abraham? So am I.

1 Corinthians 11:21-22

“Oh, what did you see, my blue-eyed son?

Oh, what did you see, my darling young one?

I saw a newborn baby with wild wolves all around it

I saw a highway of diamonds with nobody on it,

I saw a black branch with blood that kept drippin’,

I saw a room full of men with their hammers a-bleedin’,

I saw a white ladder all covered with water,

I saw ten thousand talkers whose tongues were all broken,

I saw guns and sharp swords in the hands of young children,

Bob Dylan, “A Hard Rain’s A-Gonna Fall.”

Another warning literary devices and style

I admit.

This could be an exercise in dilettantism. An argument for fashion over function. In the hard and fast competition found on a search results page, most people just want answers to their questions. They want substance over style. Function over fashion.

Fair enough.

That, however, is only true in a market that is not saturated. If you hobnob in an industry drowning in competitors, on the other hand, then substance alone is not enough. You need style — among other things — to stand out.

So, bookmark this post, then carve out some time to study these devices.

Question: How many of these devices did I use in this article?

The post 12 Uncommon Literary Devices to Give Your Writing Irresistible Style appeared first on Copybot.

from Online Marketing Tips https://thecopybot.com/literary-devices-web-style/

[mahtewtwook86]

12 Uncommon Literary Devices to Give Your Writing Irresistible Style

So I bummed this book from a neighbor. It’s a book on classic English rhetoric. Or verbal style.

She initially pulled it off her shelf to show me because of the name of the author: Ward Farnsworth.

Not an exact rendering of my last name (it’s Farnworth, no “s”). And that’s not pretentious posturing on my part — it has been that way for generations.

But it didn’t really matter who wrote the book. I fell in love with it on the spot.

Each chapter is devoted to a literary device like anaphora, chiasmus, and litotes That may sound like nonsense to you, but they’re just fancy words for rhetorical devices you’ll quickly recognize.

Furthermore, each device is broken down into subspecies, complete with examples from notable sources like Shakespeare, Churchill, Chesterton, and the Bible (and I threw in a few by Tupac Shukar, Monty Python and the Holy Grail, and Bob Dylan).

What is a literary device?

Before diving into these uncommon literary devices, let’s take a quick detour.

Talking about literary devices, figures of speech and writing style can be intimidating for many.

After scouring the web and referring to a few additional books, I didn’t come across an agreed upon definition of literary devices. So here’s my take:

A literary device is a technique you can use to create a special effect on your writing.

Think about it this way.

When writing a story or making a point, you can just use the facts, which is totally fine for in some cases like journalism, or you can liven things up a bit with a literary device.

Here’s an example of a literary device to illustrate what I’m talking about:

“The rain was heavy this afternoon as I walked to my car.”

“The rain played tag with me as I ran to my car to get shelter.”

The first sentence is just a statement about the rain. It is what it is. It’s like a reporter sharing her observation about today’s weather, and it doesn’t lead the reader to think anything specific about the rain.

The second sentence basically says the same thing. To make the rain come alive (“The rain played tag”), I used a literary device known as personification to create an image in the mind of the reader. I mean, who hasn’t tried to run away from the rain?

Literary devices are tools writers can use that are similar to tactics producers can use in film, television, or theater. By adding makeup, using costumes, or utilizing computer graphics, producers can create special effects to convey a specific visual.

Here’s one example of before-and-after scenes using special effects:

Sure, the producer could have asked the actor to wear a costume or put on makeup. But you have to admit; the computer graphics really takes the look of this character to the next level.

This is really how literary devices work in their basic form. They can add special effects to your writing and transform the experience of your readers.

Why literary devices are essential to web writing

There’s a lot of good substance out there. Hardly any style, though. This isn’t an accident.

Most people who peddle content are tradespeople first, writers second. In other words, their authority rests in a discipline other than writing.

Sometimes their content feels as if it’s meant to feed a machine when the creator will tell you plainly that is not the case. They are writing for people, which is one key to writing a blog post people will actually read.

Fair enough. But technical writers also write for people.

A list of literary devices to add style to your content

I look at some pieces, though, and I think the designer probably got paid really good money. The writer, not so much.

This is not to say style should be a pretentious exercise in drawing attention to itself. It should not be a navel-gazing sentence by James Joyce or a long-winded, baroque one from Faulkner (whom I adore).

Great web writing demands the plainness of Hemingway and the clarity of Orwell and the playfulness of E. E. Cummings. And you can do it while honoring the simplicity of Strunk.

And mastering these 12 uncommon literary devices from Mr. Farnsworth’s book is a great place to start if you are a greenhorn … a great place to beef up your skill set if you are a veteran. Enjoy.

1. Epizeuxis

Epizeuxis is a simple repetition of words and phrases. This literary device is often used for emphasis, and oftentimes, there are no additional words in between. The quick repetition of words or phrases will arrest the attention of your readers.

Epizeuxis examples:

“Holy, holy, holy is the Lord of hosts; the whole earth is full of his glory!”

Isaiah 6:3

“Never give in — never, never, never, never, in nothing great or small, large or petty, never give in except to convictions of honour and good sense. Never yield to force; never yield to the apparently overwhelming might of the enemy.”

Winston Churchill

“But you never know now do you now do you now do you.”

David Foster Wallace, Brief Interviews with Hideous Men

2. Anaphora

Anaphora is repetition at the beginning of successive statements. In writing or speeches, you can use this literary device to create an artistic effect, or you can repeat one phrase to weave together several points together.

Anaphora examples:

Mad world! Mad kings! Mad composition!

William Shakespeare, King John, II

But woe unto you, scribes and Pharisees, hypocrites! for ye shut up the kingdom of heaven against men: for ye neither go in yourselves, neither suffer ye them that are entering to go in.

Woe unto you, scribes and Pharisees, hypocrites! for ye devour widows’ houses, and for a pretense make long prayer: therefore ye shall receive the greater damnation.

Woe unto you, scribes and Pharisees, hypocrites! for ye compass sea and land to make one proselyte, and when he is made, ye make him twofold more the child of hell than yourselves.

Woe unto you, ye blind guides, which say, Whosoever shall swear by the temple, it is nothing; but whosoever shall swear by the gold of the temple, he is a debtor!

Matthew 23:13-16

3. Epistrophe

Epistrophe is similar to anaphora, but with a twist—this literary device uses repetition of words or phrases at the end.

Epistrophe examples:

When I was a child, I spoke as a child, I understood as a child, I thought as a child.

1 Corinthians 13:11 (King James Translation)

“What lies behind us and what lies before us are tiny compared to what lies within us.”

Ralph Waldo Emerson

“There is no Negro problem. There is no Southern problem. There is no Northern problem. There is only an American problem.”

Lyndon B. Johnson in “We Shall Overcome”

4. Anadiplosis

Abnadiplosis is the repetition of a word or phrase at the beginning and end of a sentence. This literary device creates a sweet flow in certain forms of writing.

Abnadiplosis examples:

“Fear leads to anger. Anger leads to hate. Hate leads to suffering.”

Yoda, Star Wars

“We also rejoice in our sufferings, because we know that suffering produces perseverance; perseverance, character; and character, hope. And hope does not disappoint us.”

Romans 5:3–5

“The frog was a prince / The prince was a brick / The brick was an egg / The egg was a bird”

Genesis, “Supper’s Ready”

5. Polyptoton

Polyptoton is unique in that it’s a repetition of the root word. For example, you can use similar words like “strength” and “strong” instead of just repeating the same word.

Polyptoton examples:

“It is the same with all the powerful of to-day; it is the same, for instance, with the high-placed and high-paid official. Not only is the judge not judicial, but the arbiter is not even arbitrary.”

— G.K. Chesterton, The Man on Top

“Judge not, that ye be not judged.”

Matthew 7:1

“Not as a call to battle, though embattled we are.”

John F. Kennedy, Inaugural Address, January 20, 1961

“Absolute power corrupts absolutely.”

Lord Acton

6. Isocolon

Isocolon is a literary device you can use to create parallel structures in your length and rhythm.

Isocolon examples:

“Melts in your mouth, not in your hands.”

M&Ms

“With malice toward none, with charity toward all, with firmness in the right…”

Abraham Lincoln, Second Inaugural Address

“I’m a Pepper, he’s a Pepper, she’s a Pepper, we’re a Pepper — Wouldn’t you like to be a Pepper, too? Dr. Pepper!”

Dr. Pepper advertising jingle

“Heal the sick, cleanse the lepers, raise the dead, cast out devils: freely ye have received, freely give.”

Matthew 10:8

7. Chiasmus

Chiasmus is a reversal structure used for artistic effect. With this literary device, you basically criss-cross phrases to convey a similar—not identical—meaning.

Chiasmus examples:

“Mankind must put an end to war or war will put an end to mankind.”

John F. Kennedy

“Woe unto that call evil good, and good evil; that put darkness for light, and light for darkness; that put bitter for sweet, and sweet for bitter!”

Isaiah 5:20

“They say money don’t make the man but man, I’m makin’ money.”

Tupac Shakur, “Thug Passion”

8. Anastrophe

Anastrope refers to an inversion of words, which will make perfect sense in a moment (assuming your a fan of Star Wars). You can use this literary device to emphasize a word or phrase.

Anastrope examples:

” Deep into that darkness peering, long I stood there wondering, fearing.”

Edgar Allan Poe, “The Raven”

“Joined the Dark Side, Dooku has. Lies, deceit, creating mistrust are his ways now.”

Yoda

“I sing of arms and the man, who first from the shores of Troy.”

Virgil, the first line of Aeneid

“Never have I found the limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance”

Eugene Smith

“Her mother is the lady of the house, And a good lady, and wise and virtuous. I nursed her daughter that you talked withal. I tell you, he that can lay hold of her, Shall have the chinks.”

Shakespeare, Romeo and Juliet

9. Polysyndeton

Polysyndeto is a literary device where you use extra conjunctions (e.g., and, but)—frequently in quick succession—to create a stylistic effect.

Polysyndeton examples:

“And every living substance was destroyed which was upon the face of the ground, both man, and cattle, and the creeping things, and the fowl of the heaven; and they were destroyed from the earth: and Noah only remained alive, and they that were with him in the ark.”

Genesis 7:3

“If there be cords, or knives, or poison, or fire, or suffocating streams, I’ll not endure it”

Shakespeare, Othello

“And St. Attila raised his hand grenade up on high saying ‘O Lord bless this thy hand grenade that with it thou mayest blow thine enemies to tiny bits, in thy mercy. ‘and the Lord did grin and people did feast upon the lambs and sloths and carp and anchovies and orangutans and breakfast cereals and fruit bats and …'”

Monty Python and the Holy Grail

“I said, ‘Who killed him?’ and he said ‘I don’t know who killed him, but he’s dead all right,’ and it was dark and there was water standing in the street and no lights or windows broke and boats all up in the town and trees blown down and everything all blown and I got a skiff and went out and found my boat where I had her inside Mango Key and she was right only she was full of water.”

Ernest Hemingway, “After the Storm.”

10. Asyndeton

Asyndeton is a writing style where you leave out conjunctions to write direct statements for effect. If used correctly, this literary device can create a beautiful, memorable rhythm in your writing.

Asyndeton examples:

“We shall go on to the end, we shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our Island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender. . .”

Winston Churchill, “We Shall Fight on the Beaches”

“…and that government of the people, by the people, for the people shall not perish from the earth.”

Abraham Lincoln, Gettysburg Address

“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.”

John F. Kennedy, Inaugural Address

“And whatsoever mine eyes desired I kept not from them, I withheld not my heart from any joy; for my heart rejoiced in all my labour: and this was my portion of all my labour.”

Ecclesiastes 2:10

11. Litotes

Litotes is a figure of speech you can use to affirm something positive by making an understatement. After you take a gander at the examples below, you’ll see that this literary device is commonly used in everyday conversations and popular literature.

Litotes examples:

“Not bad” (to say something is good)

“He’s not as young as he used to be” (meaning “he’s old”)

“Keep an eye on your mother whom we both know doesn’t have both oars in the water.”

Jim Harrison, The Road Home

“I will multiply them, and they shall not be few; I will make them honored, and they shall not be small.”

Jeremiah 30:19

“Are you also aware, Mrs. Bueller, that Ferris does not have what we consider to be an exemplary attendance record?”

Ferris Bueller’s Day Off

12. Hypophora

In short, hypophora is when you ask a question and then answer the question you just asked. Unlike a rhetorical question, to use this literary device, you’ll need to answer the question you pose immediately.

Hypophora examples:

“What made me take this trip to Africa? There is no quick explanation. Things got worse and worse and worse and pretty soon they were too complicated.”

Saul Bellow, Henderson the Rain King

Are they Hebrews? So am I. Are they Israelites? So am I. Are they the seed of Abraham? So am I.

1 Corinthians 11:21-22

“Oh, what did you see, my blue-eyed son?

Oh, what did you see, my darling young one?

I saw a newborn baby with wild wolves all around it

I saw a highway of diamonds with nobody on it,

I saw a black branch with blood that kept drippin’,

I saw a room full of men with their hammers a-bleedin’,

I saw a white ladder all covered with water,

I saw ten thousand talkers whose tongues were all broken,

I saw guns and sharp swords in the hands of young children,

Bob Dylan, “A Hard Rain’s A-Gonna Fall.”

Another warning literary devices and style

I admit.

This could be an exercise in dilettantism. An argument for fashion over function. In the hard and fast competition found on a search results page, most people just want answers to their questions. They want substance over style. Function over fashion.

Fair enough.

That, however, is only true in a market that is not saturated. If you hobnob in an industry drowning in competitors, on the other hand, then substance alone is not enough. You need style — among other things — to stand out.

So, bookmark this post, then carve out some time to study these devices.

Question: How many of these devices did I use in this article?

The post 12 Uncommon Literary Devices to Give Your Writing Irresistible Style appeared first on Copybot.

from https://thecopybot.com/literary-devices-web-style/

[peterjcameron]

12 Uncommon Literary Devices to Give Your Writing Irresistible Style

So I bummed this book from a neighbor. It’s a book on classic English rhetoric. Or verbal style.

She initially pulled it off her shelf to show me because of the name of the author: Ward Farnsworth.

Not an exact rendering of my last name (it’s Farnworth, no “s”). And that’s not pretentious posturing on my part — it has been that way for generations.

But it didn’t really matter who wrote the book. I fell in love with it on the spot.

Each chapter is devoted to a literary device like anaphora, chiasmus, and litotes That may sound like nonsense to you, but they’re just fancy words for rhetorical devices you’ll quickly recognize.

Furthermore, each device is broken down into subspecies, complete with examples from notable sources like Shakespeare, Churchill, Chesterton, and the Bible (and I threw in a few by Tupac Shukar, Monty Python and the Holy Grail, and Bob Dylan).

What is a literary device?

Before diving into these uncommon literary devices, let’s take a quick detour.

Talking about literary devices, figures of speech and writing style can be intimidating for many.

After scouring the web and referring to a few additional books, I didn’t come across an agreed upon definition of literary devices. So here’s my take:

A literary device is a technique you can use to create a special effect on your writing.

Think about it this way.

When writing a story or making a point, you can just use the facts, which is totally fine for in some cases like journalism, or you can liven things up a bit with a literary device.

Here’s an example of a literary device to illustrate what I’m talking about:

“The rain was heavy this afternoon as I walked to my car.”

“The rain played tag with me as I ran to my car to get shelter.”

The first sentence is just a statement about the rain. It is what it is. It’s like a reporter sharing her observation about today’s weather, and it doesn’t lead the reader to think anything specific about the rain.

The second sentence basically says the same thing. To make the rain come alive (“The rain played tag”), I used a literary device known as personification to create an image in the mind of the reader. I mean, who hasn’t tried to run away from the rain?

Literary devices are tools writers can use that are similar to tactics producers can use in film, television, or theater. By adding makeup, using costumes, or utilizing computer graphics, producers can create special effects to convey a specific visual.

Here’s one example of before-and-after scenes using special effects:

Sure, the producer could have asked the actor to wear a costume or put on makeup. But you have to admit; the computer graphics really takes the look of this character to the next level.

This is really how literary devices work in their basic form. They can add special effects to your writing and transform the experience of your readers.

Why literary devices are essential to web writing

There’s a lot of good substance out there. Hardly any style, though. This isn’t an accident.

Most people who peddle content are tradespeople first, writers second. In other words, their authority rests in a discipline other than writing.

Sometimes their content feels as if it’s meant to feed a machine when the creator will tell you plainly that is not the case. They are writing for people, which is one key to writing a blog post people will actually read.

Fair enough. But technical writers also write for people.

A list of literary devices to add style to your content

I look at some pieces, though, and I think the designer probably got paid really good money. The writer, not so much.

This is not to say style should be a pretentious exercise in drawing attention to itself. It should not be a navel-gazing sentence by James Joyce or a long-winded, baroque one from Faulkner (whom I adore).

Great web writing demands the plainness of Hemingway and the clarity of Orwell and the playfulness of E. E. Cummings. And you can do it while honoring the simplicity of Strunk.

And mastering these 12 uncommon literary devices from Mr. Farnsworth’s book is a great place to start if you are a greenhorn … a great place to beef up your skill set if you are a veteran. Enjoy.

1. Epizeuxis

Epizeuxis is a simple repetition of words and phrases. This literary device is often used for emphasis, and oftentimes, there are no additional words in between. The quick repetition of words or phrases will arrest the attention of your readers.

Epizeuxis examples:

“Holy, holy, holy is the Lord of hosts; the whole earth is full of his glory!”

Isaiah 6:3

“Never give in — never, never, never, never, in nothing great or small, large or petty, never give in except to convictions of honour and good sense. Never yield to force; never yield to the apparently overwhelming might of the enemy.”

Winston Churchill

“But you never know now do you now do you now do you.”

David Foster Wallace, Brief Interviews with Hideous Men

2. Anaphora

Anaphora is repetition at the beginning of successive statements. In writing or speeches, you can use this literary device to create an artistic effect, or you can repeat one phrase to weave together several points together.

Anaphora examples:

Mad world! Mad kings! Mad composition!

William Shakespeare, King John, II

But woe unto you, scribes and Pharisees, hypocrites! for ye shut up the kingdom of heaven against men: for ye neither go in yourselves, neither suffer ye them that are entering to go in.

Woe unto you, scribes and Pharisees, hypocrites! for ye devour widows’ houses, and for a pretense make long prayer: therefore ye shall receive the greater damnation.

Woe unto you, scribes and Pharisees, hypocrites! for ye compass sea and land to make one proselyte, and when he is made, ye make him twofold more the child of hell than yourselves.

Woe unto you, ye blind guides, which say, Whosoever shall swear by the temple, it is nothing; but whosoever shall swear by the gold of the temple, he is a debtor!

Matthew 23:13-16

3. Epistrophe

Epistrophe is similar to anaphora, but with a twist—this literary device uses repetition of words or phrases at the end.

Epistrophe examples:

When I was a child, I spoke as a child, I understood as a child, I thought as a child.

1 Corinthians 13:11 (King James Translation)

“What lies behind us and what lies before us are tiny compared to what lies within us.”

Ralph Waldo Emerson

“There is no Negro problem. There is no Southern problem. There is no Northern problem. There is only an American problem.”

Lyndon B. Johnson in “We Shall Overcome”

4. Anadiplosis

Abnadiplosis is the repetition of a word or phrase at the beginning and end of a sentence. This literary device creates a sweet flow in certain forms of writing.

Abnadiplosis examples:

“Fear leads to anger. Anger leads to hate. Hate leads to suffering.”

Yoda, Star Wars

“We also rejoice in our sufferings, because we know that suffering produces perseverance; perseverance, character; and character, hope. And hope does not disappoint us.”

Romans 5:3–5

“The frog was a prince / The prince was a brick / The brick was an egg / The egg was a bird”

Genesis, “Supper’s Ready”

5. Polyptoton

Polyptoton is unique in that it’s a repetition of the root word. For example, you can use similar words like “strength” and “strong” instead of just repeating the same word.

Polyptoton examples:

“It is the same with all the powerful of to-day; it is the same, for instance, with the high-placed and high-paid official. Not only is the judge not judicial, but the arbiter is not even arbitrary.”

— G.K. Chesterton, The Man on Top

“Judge not, that ye be not judged.”

Matthew 7:1

“Not as a call to battle, though embattled we are.”

John F. Kennedy, Inaugural Address, January 20, 1961

“Absolute power corrupts absolutely.”

Lord Acton

6. Isocolon

Isocolon is a literary device you can use to create parallel structures in your length and rhythm.

Isocolon examples:

“Melts in your mouth, not in your hands.”

M&Ms

“With malice toward none, with charity toward all, with firmness in the right…”

Abraham Lincoln, Second Inaugural Address

“I’m a Pepper, he’s a Pepper, she’s a Pepper, we’re a Pepper — Wouldn’t you like to be a Pepper, too? Dr. Pepper!”

Dr. Pepper advertising jingle

“Heal the sick, cleanse the lepers, raise the dead, cast out devils: freely ye have received, freely give.”

Matthew 10:8

7. Chiasmus

Chiasmus is a reversal structure used for artistic effect. With this literary device, you basically criss-cross phrases to convey a similar—not identical—meaning.

Chiasmus examples:

“Mankind must put an end to war or war will put an end to mankind.”

John F. Kennedy

“Woe unto that call evil good, and good evil; that put darkness for light, and light for darkness; that put bitter for sweet, and sweet for bitter!”

Isaiah 5:20

“They say money don’t make the man but man, I’m makin’ money.”

Tupac Shakur, “Thug Passion”

8. Anastrophe

Anastrope refers to an inversion of words, which will make perfect sense in a moment (assuming your a fan of Star Wars). You can use this literary device to emphasize a word or phrase.

Anastrope examples:

” Deep into that darkness peering, long I stood there wondering, fearing.”

Edgar Allan Poe, “The Raven”

“Joined the Dark Side, Dooku has. Lies, deceit, creating mistrust are his ways now.”

Yoda

“I sing of arms and the man, who first from the shores of Troy.”

Virgil, the first line of Aeneid

“Never have I found the limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance”

Eugene Smith

“Her mother is the lady of the house, And a good lady, and wise and virtuous. I nursed her daughter that you talked withal. I tell you, he that can lay hold of her, Shall have the chinks.”

Shakespeare, Romeo and Juliet

9. Polysyndeton

Polysyndeto is a literary device where you use extra conjunctions (e.g., and, but)—frequently in quick succession—to create a stylistic effect.

Polysyndeton examples:

“And every living substance was destroyed which was upon the face of the ground, both man, and cattle, and the creeping things, and the fowl of the heaven; and they were destroyed from the earth: and Noah only remained alive, and they that were with him in the ark.”

Genesis 7:3

“If there be cords, or knives, or poison, or fire, or suffocating streams, I’ll not endure it”

Shakespeare, Othello

“And St. Attila raised his hand grenade up on high saying ‘O Lord bless this thy hand grenade that with it thou mayest blow thine enemies to tiny bits, in thy mercy. ‘and the Lord did grin and people did feast upon the lambs and sloths and carp and anchovies and orangutans and breakfast cereals and fruit bats and …'”

Monty Python and the Holy Grail

“I said, ‘Who killed him?’ and he said ‘I don’t know who killed him, but he’s dead all right,’ and it was dark and there was water standing in the street and no lights or windows broke and boats all up in the town and trees blown down and everything all blown and I got a skiff and went out and found my boat where I had her inside Mango Key and she was right only she was full of water.”

Ernest Hemingway, “After the Storm.”

10. Asyndeton

Asyndeton is a writing style where you leave out conjunctions to write direct statements for effect. If used correctly, this literary device can create a beautiful, memorable rhythm in your writing.

Asyndeton examples:

“We shall go on to the end, we shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our Island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender. . .”

Winston Churchill, “We Shall Fight on the Beaches”

“…and that government of the people, by the people, for the people shall not perish from the earth.”

Abraham Lincoln, Gettysburg Address

“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.”

John F. Kennedy, Inaugural Address

“And whatsoever mine eyes desired I kept not from them, I withheld not my heart from any joy; for my heart rejoiced in all my labour: and this was my portion of all my labour.”

Ecclesiastes 2:10

11. Litotes

Litotes is a figure of speech you can use to affirm something positive by making an understatement. After you take a gander at the examples below, you’ll see that this literary device is commonly used in everyday conversations and popular literature.

Litotes examples:

“Not bad” (to say something is good)

“He’s not as young as he used to be” (meaning “he’s old”)

“Keep an eye on your mother whom we both know doesn’t have both oars in the water.”

Jim Harrison, The Road Home

“I will multiply them, and they shall not be few; I will make them honored, and they shall not be small.”

Jeremiah 30:19

“Are you also aware, Mrs. Bueller, that Ferris does not have what we consider to be an exemplary attendance record?”

Ferris Bueller’s Day Off

12. Hypophora

In short, hypophora is when you ask a question and then answer the question you just asked. Unlike a rhetorical question, to use this literary device, you’ll need to answer the question you pose immediately.

Hypophora examples:

“What made me take this trip to Africa? There is no quick explanation. Things got worse and worse and worse and pretty soon they were too complicated.”

Saul Bellow, Henderson the Rain King

Are they Hebrews? So am I. Are they Israelites? So am I. Are they the seed of Abraham? So am I.

1 Corinthians 11:21-22

“Oh, what did you see, my blue-eyed son?

Oh, what did you see, my darling young one?

I saw a newborn baby with wild wolves all around it

I saw a highway of diamonds with nobody on it,

I saw a black branch with blood that kept drippin’,

I saw a room full of men with their hammers a-bleedin’,

I saw a white ladder all covered with water,

I saw ten thousand talkers whose tongues were all broken,

I saw guns and sharp swords in the hands of young children,

Bob Dylan, “A Hard Rain’s A-Gonna Fall.”

Another warning literary devices and style

I admit.

This could be an exercise in dilettantism. An argument for fashion over function. In the hard and fast competition found on a search results page, most people just want answers to their questions. They want substance over style. Function over fashion.

Fair enough.

That, however, is only true in a market that is not saturated. If you hobnob in an industry drowning in competitors, on the other hand, then substance alone is not enough. You need style — among other things — to stand out.

So, bookmark this post, then carve out some time to study these devices.

Question: How many of these devices did I use in this article?

The post 12 Uncommon Literary Devices to Give Your Writing Irresistible Style appeared first on Copybot.

from Peter Cameron Business Consultant https://thecopybot.com/literary-devices-web-style/

[richardlucianos]

12 Uncommon Literary Devices to Give Your Writing Irresistible Style

So I bummed this book from a neighbor. It’s a book on classic English rhetoric. Or verbal style.

She initially pulled it off her shelf to show me because of the name of the author: Ward Farnsworth.

Not an exact rendering of my last name (it’s Farnworth, no “s”). And that’s not pretentious posturing on my part — it has been that way for generations.

But it didn’t really matter who wrote the book. I fell in love with it on the spot.

Each chapter is devoted to a literary device like anaphora, chiasmus, and litotes That may sound like nonsense to you, but they’re just fancy words for rhetorical devices you’ll quickly recognize.

Furthermore, each device is broken down into subspecies, complete with examples from notable sources like Shakespeare, Churchill, Chesterton, and the Bible (and I threw in a few by Tupac Shukar, Monty Python and the Holy Grail, and Bob Dylan).

What is a literary device?

Before diving into these uncommon literary devices, let’s take a quick detour.

Talking about literary devices, figures of speech and writing style can be intimidating for many.

After scouring the web and referring to a few additional books, I didn’t come across an agreed upon definition of literary devices. So here’s my take:

A literary device is a technique you can use to create a special effect on your writing.

Think about it this way.

When writing a story or making a point, you can just use the facts, which is totally fine for in some cases like journalism, or you can liven things up a bit with a literary device.

Here’s an example of a literary device to illustrate what I’m talking about:

“The rain was heavy this afternoon as I walked to my car.”

“The rain played tag with me as I ran to my car to get shelter.”

The first sentence is just a statement about the rain. It is what it is. It’s like a reporter sharing her observation about today’s weather, and it doesn’t lead the reader to think anything specific about the rain.

The second sentence basically says the same thing. To make the rain come alive (“The rain played tag”), I used a literary device known as personification to create an image in the mind of the reader. I mean, who hasn’t tried to run away from the rain?

Literary devices are tools writers can use that are similar to tactics producers can use in film, television, or theater. By adding makeup, using costumes, or utilizing computer graphics, producers can create special effects to convey a specific visual.

Here’s one example of before-and-after scenes using special effects:

Sure, the producer could have asked the actor to wear a costume or put on makeup. But you have to admit; the computer graphics really takes the look of this character to the next level.

This is really how literary devices work in their basic form. They can add special effects to your writing and transform the experience of your readers.

Why literary devices are essential to web writing

There’s a lot of good substance out there. Hardly any style, though. This isn’t an accident.

Most people who peddle content are tradespeople first, writers second. In other words, their authority rests in a discipline other than writing.

Sometimes their content feels as if it’s meant to feed a machine when the creator will tell you plainly that is not the case. They are writing for people, which is one key to writing a blog post people will actually read.

Fair enough. But technical writers also write for people.

A list of literary devices to add style to your content

I look at some pieces, though, and I think the designer probably got paid really good money. The writer, not so much.

This is not to say style should be a pretentious exercise in drawing attention to itself. It should not be a navel-gazing sentence by James Joyce or a long-winded, baroque one from Faulkner (whom I adore).

Great web writing demands the plainness of Hemingway and the clarity of Orwell and the playfulness of E. E. Cummings. And you can do it while honoring the simplicity of Strunk.

And mastering these 12 uncommon literary devices from Mr. Farnsworth’s book is a great place to start if you are a greenhorn … a great place to beef up your skill set if you are a veteran. Enjoy.

1. Epizeuxis

Epizeuxis is a simple repetition of words and phrases. This literary device is often used for emphasis, and oftentimes, there are no additional words in between. The quick repetition of words or phrases will arrest the attention of your readers.

Epizeuxis examples:

“Holy, holy, holy is the Lord of hosts; the whole earth is full of his glory!”

Isaiah 6:3

“Never give in — never, never, never, never, in nothing great or small, large or petty, never give in except to convictions of honour and good sense. Never yield to force; never yield to the apparently overwhelming might of the enemy.”

Winston Churchill

“But you never know now do you now do you now do you.”

David Foster Wallace, Brief Interviews with Hideous Men

2. Anaphora

Anaphora is repetition at the beginning of successive statements. In writing or speeches, you can use this literary device to create an artistic effect, or you can repeat one phrase to weave together several points together.

Anaphora examples:

Mad world! Mad kings! Mad composition!

William Shakespeare, King John, II

But woe unto you, scribes and Pharisees, hypocrites! for ye shut up the kingdom of heaven against men: for ye neither go in yourselves, neither suffer ye them that are entering to go in.

Woe unto you, scribes and Pharisees, hypocrites! for ye devour widows’ houses, and for a pretense make long prayer: therefore ye shall receive the greater damnation.

Woe unto you, scribes and Pharisees, hypocrites! for ye compass sea and land to make one proselyte, and when he is made, ye make him twofold more the child of hell than yourselves.

Woe unto you, ye blind guides, which say, Whosoever shall swear by the temple, it is nothing; but whosoever shall swear by the gold of the temple, he is a debtor!

Matthew 23:13-16

3. Epistrophe

Epistrophe is similar to anaphora, but with a twist—this literary device uses repetition of words or phrases at the end.

Epistrophe examples:

When I was a child, I spoke as a child, I understood as a child, I thought as a child.

1 Corinthians 13:11 (King James Translation)

“What lies behind us and what lies before us are tiny compared to what lies within us.”

Ralph Waldo Emerson

“There is no Negro problem. There is no Southern problem. There is no Northern problem. There is only an American problem.”

Lyndon B. Johnson in “We Shall Overcome”

4. Anadiplosis

Abnadiplosis is the repetition of a word or phrase at the beginning and end of a sentence. This literary device creates a sweet flow in certain forms of writing.

Abnadiplosis examples:

“Fear leads to anger. Anger leads to hate. Hate leads to suffering.”

Yoda, Star Wars

“We also rejoice in our sufferings, because we know that suffering produces perseverance; perseverance, character; and character, hope. And hope does not disappoint us.”

Romans 5:3–5

“The frog was a prince / The prince was a brick / The brick was an egg / The egg was a bird”

Genesis, “Supper’s Ready”

5. Polyptoton

Polyptoton is unique in that it’s a repetition of the root word. For example, you can use similar words like “strength” and “strong” instead of just repeating the same word.

Polyptoton examples:

“It is the same with all the powerful of to-day; it is the same, for instance, with the high-placed and high-paid official. Not only is the judge not judicial, but the arbiter is not even arbitrary.”

— G.K. Chesterton, The Man on Top

“Judge not, that ye be not judged.”

Matthew 7:1

“Not as a call to battle, though embattled we are.”

John F. Kennedy, Inaugural Address, January 20, 1961

“Absolute power corrupts absolutely.”

Lord Acton

6. Isocolon

Isocolon is a literary device you can use to create parallel structures in your length and rhythm.

Isocolon examples:

“Melts in your mouth, not in your hands.”

M&Ms

“With malice toward none, with charity toward all, with firmness in the right…”

Abraham Lincoln, Second Inaugural Address

“I’m a Pepper, he’s a Pepper, she’s a Pepper, we’re a Pepper — Wouldn’t you like to be a Pepper, too? Dr. Pepper!”

Dr. Pepper advertising jingle

“Heal the sick, cleanse the lepers, raise the dead, cast out devils: freely ye have received, freely give.”

Matthew 10:8

7. Chiasmus

Chiasmus is a reversal structure used for artistic effect. With this literary device, you basically criss-cross phrases to convey a similar—not identical—meaning.

Chiasmus examples:

“Mankind must put an end to war or war will put an end to mankind.”

John F. Kennedy

“Woe unto that call evil good, and good evil; that put darkness for light, and light for darkness; that put bitter for sweet, and sweet for bitter!”

Isaiah 5:20

“They say money don’t make the man but man, I’m makin’ money.”

Tupac Shakur, “Thug Passion”

8. Anastrophe

Anastrope refers to an inversion of words, which will make perfect sense in a moment (assuming your a fan of Star Wars). You can use this literary device to emphasize a word or phrase.

Anastrope examples:

” Deep into that darkness peering, long I stood there wondering, fearing.”

Edgar Allan Poe, “The Raven”

“Joined the Dark Side, Dooku has. Lies, deceit, creating mistrust are his ways now.”

Yoda

“I sing of arms and the man, who first from the shores of Troy.”

Virgil, the first line of Aeneid

“Never have I found the limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance”

Eugene Smith

“Her mother is the lady of the house, And a good lady, and wise and virtuous. I nursed her daughter that you talked withal. I tell you, he that can lay hold of her, Shall have the chinks.”

Shakespeare, Romeo and Juliet

9. Polysyndeton

Polysyndeto is a literary device where you use extra conjunctions (e.g., and, but)—frequently in quick succession—to create a stylistic effect.

Polysyndeton examples:

“And every living substance was destroyed which was upon the face of the ground, both man, and cattle, and the creeping things, and the fowl of the heaven; and they were destroyed from the earth: and Noah only remained alive, and they that were with him in the ark.”

Genesis 7:3

“If there be cords, or knives, or poison, or fire, or suffocating streams, I’ll not endure it”

Shakespeare, Othello

“And St. Attila raised his hand grenade up on high saying ‘O Lord bless this thy hand grenade that with it thou mayest blow thine enemies to tiny bits, in thy mercy. ‘and the Lord did grin and people did feast upon the lambs and sloths and carp and anchovies and orangutans and breakfast cereals and fruit bats and …'”

Monty Python and the Holy Grail

“I said, ‘Who killed him?’ and he said ‘I don’t know who killed him, but he’s dead all right,’ and it was dark and there was water standing in the street and no lights or windows broke and boats all up in the town and trees blown down and everything all blown and I got a skiff and went out and found my boat where I had her inside Mango Key and she was right only she was full of water.”

Ernest Hemingway, “After the Storm.”

10. Asyndeton

Asyndeton is a writing style where you leave out conjunctions to write direct statements for effect. If used correctly, this literary device can create a beautiful, memorable rhythm in your writing.

Asyndeton examples:

“We shall go on to the end, we shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our Island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender. . .”

Winston Churchill, “We Shall Fight on the Beaches”

“…and that government of the people, by the people, for the people shall not perish from the earth.”

Abraham Lincoln, Gettysburg Address

“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.”

John F. Kennedy, Inaugural Address

“And whatsoever mine eyes desired I kept not from them, I withheld not my heart from any joy; for my heart rejoiced in all my labour: and this was my portion of all my labour.”

Ecclesiastes 2:10

11. Litotes

Litotes is a figure of speech you can use to affirm something positive by making an understatement. After you take a gander at the examples below, you’ll see that this literary device is commonly used in everyday conversations and popular literature.

Litotes examples:

“Not bad” (to say something is good)

“He’s not as young as he used to be” (meaning “he’s old”)

“Keep an eye on your mother whom we both know doesn’t have both oars in the water.”

Jim Harrison, The Road Home

“I will multiply them, and they shall not be few; I will make them honored, and they shall not be small.”

Jeremiah 30:19

“Are you also aware, Mrs. Bueller, that Ferris does not have what we consider to be an exemplary attendance record?”

Ferris Bueller’s Day Off

12. Hypophora

In short, hypophora is when you ask a question and then answer the question you just asked. Unlike a rhetorical question, to use this literary device, you’ll need to answer the question you pose immediately.

Hypophora examples:

“What made me take this trip to Africa? There is no quick explanation. Things got worse and worse and worse and pretty soon they were too complicated.”

Saul Bellow, Henderson the Rain King

Are they Hebrews? So am I. Are they Israelites? So am I. Are they the seed of Abraham? So am I.

1 Corinthians 11:21-22

“Oh, what did you see, my blue-eyed son?

Oh, what did you see, my darling young one?

I saw a newborn baby with wild wolves all around it

I saw a highway of diamonds with nobody on it,

I saw a black branch with blood that kept drippin’,

I saw a room full of men with their hammers a-bleedin’,

I saw a white ladder all covered with water,

I saw ten thousand talkers whose tongues were all broken,

I saw guns and sharp swords in the hands of young children,

Bob Dylan, “A Hard Rain’s A-Gonna Fall.”

Another warning literary devices and style

I admit.

This could be an exercise in dilettantism. An argument for fashion over function. In the hard and fast competition found on a search results page, most people just want answers to their questions. They want substance over style. Function over fashion.

Fair enough.

That, however, is only true in a market that is not saturated. If you hobnob in an industry drowning in competitors, on the other hand, then substance alone is not enough. You need style — among other things — to stand out.

So, bookmark this post, then carve out some time to study these devices.

Question: How many of these devices did I use in this article?

The post 12 Uncommon Literary Devices to Give Your Writing Irresistible Style appeared first on Copybot.

from SEO Tips https://thecopybot.com/literary-devices-web-style/

[samabd]

12 Uncommon Literary Devices to Give Your Writing Irresistible Style

So I bummed this book from a neighbor. It’s a book on classic English rhetoric. Or verbal style.

She initially pulled it off her shelf to show me because of the name of the author: Ward Farnsworth.

Not an exact rendering of my last name (it’s Farnworth, no “s”). And that’s not pretentious posturing on my part — it has been that way for generations.

But it didn’t really matter who wrote the book. I fell in love with it on the spot.

Each chapter is devoted to a literary device like anaphora, chiasmus, and litotes That may sound like nonsense to you, but they’re just fancy words for rhetorical devices you’ll quickly recognize.

Furthermore, each device is broken down into subspecies, complete with examples from notable sources like Shakespeare, Churchill, Chesterton, and the Bible (and I threw in a few by Tupac Shukar, Monty Python and the Holy Grail, and Bob Dylan).

What is a literary device?

Before diving into these uncommon literary devices, let’s take a quick detour.

Talking about literary devices, figures of speech and writing style can be intimidating for many.

After scouring the web and referring to a few additional books, I didn’t come across an agreed upon definition of literary devices. So here’s my take:

A literary device is a technique you can use to create a special effect on your writing.

Think about it this way.

When writing a story or making a point, you can just use the facts, which is totally fine for in some cases like journalism, or you can liven things up a bit with a literary device.

Here’s an example of a literary device to illustrate what I’m talking about:

“The rain was heavy this afternoon as I walked to my car.”

“The rain played tag with me as I ran to my car to get shelter.”

The first sentence is just a statement about the rain. It is what it is. It’s like a reporter sharing her observation about today’s weather, and it doesn’t lead the reader to think anything specific about the rain.

The second sentence basically says the same thing. To make the rain come alive (“The rain played tag”), I used a literary device known as personification to create an image in the mind of the reader. I mean, who hasn’t tried to run away from the rain?

Literary devices are tools writers can use that are similar to tactics producers can use in film, television, or theater. By adding makeup, using costumes, or utilizing computer graphics, producers can create special effects to convey a specific visual.

Here’s one example of before-and-after scenes using special effects:

Sure, the producer could have asked the actor to wear a costume or put on makeup. But you have to admit; the computer graphics really takes the look of this character to the next level.

This is really how literary devices work in their basic form. They can add special effects to your writing and transform the experience of your readers.

Why literary devices are essential to web writing

There’s a lot of good substance out there. Hardly any style, though. This isn’t an accident.

Most people who peddle content are tradespeople first, writers second. In other words, their authority rests in a discipline other than writing.

Sometimes their content feels as if it’s meant to feed a machine when the creator will tell you plainly that is not the case. They are writing for people, which is one key to writing a blog post people will actually read.

Fair enough. But technical writers also write for people.

A list of literary devices to add style to your content

I look at some pieces, though, and I think the designer probably got paid really good money. The writer, not so much.

This is not to say style should be a pretentious exercise in drawing attention to itself. It should not be a navel-gazing sentence by James Joyce or a long-winded, baroque one from Faulkner (whom I adore).

Great web writing demands the plainness of Hemingway and the clarity of Orwell and the playfulness of E. E. Cummings. And you can do it while honoring the simplicity of Strunk.

And mastering these 12 uncommon literary devices from Mr. Farnsworth’s book is a great place to start if you are a greenhorn … a great place to beef up your skill set if you are a veteran. Enjoy.

1. Epizeuxis

Epizeuxis is a simple repetition of words and phrases. This literary device is often used for emphasis, and oftentimes, there are no additional words in between. The quick repetition of words or phrases will arrest the attention of your readers.

Epizeuxis examples:

“Holy, holy, holy is the Lord of hosts; the whole earth is full of his glory!”

Isaiah 6:3

“Never give in — never, never, never, never, in nothing great or small, large or petty, never give in except to convictions of honour and good sense. Never yield to force; never yield to the apparently overwhelming might of the enemy.”

Winston Churchill

“But you never know now do you now do you now do you.”

David Foster Wallace, Brief Interviews with Hideous Men

2. Anaphora

Anaphora is repetition at the beginning of successive statements. In writing or speeches, you can use this literary device to create an artistic effect, or you can repeat one phrase to weave together several points together.

Anaphora examples:

Mad world! Mad kings! Mad composition!

William Shakespeare, King John, II

But woe unto you, scribes and Pharisees, hypocrites! for ye shut up the kingdom of heaven against men: for ye neither go in yourselves, neither suffer ye them that are entering to go in.

Woe unto you, scribes and Pharisees, hypocrites! for ye devour widows’ houses, and for a pretense make long prayer: therefore ye shall receive the greater damnation.

Woe unto you, scribes and Pharisees, hypocrites! for ye compass sea and land to make one proselyte, and when he is made, ye make him twofold more the child of hell than yourselves.

Woe unto you, ye blind guides, which say, Whosoever shall swear by the temple, it is nothing; but whosoever shall swear by the gold of the temple, he is a debtor!

Matthew 23:13-16

3. Epistrophe

Epistrophe is similar to anaphora, but with a twist—this literary device uses repetition of words or phrases at the end.

Epistrophe examples:

When I was a child, I spoke as a child, I understood as a child, I thought as a child.

1 Corinthians 13:11 (King James Translation)

“What lies behind us and what lies before us are tiny compared to what lies within us.”

Ralph Waldo Emerson

“There is no Negro problem. There is no Southern problem. There is no Northern problem. There is only an American problem.”

Lyndon B. Johnson in “We Shall Overcome”

4. Anadiplosis

Abnadiplosis is the repetition of a word or phrase at the beginning and end of a sentence. This literary device creates a sweet flow in certain forms of writing.

Abnadiplosis examples:

“Fear leads to anger. Anger leads to hate. Hate leads to suffering.”

Yoda, Star Wars

“We also rejoice in our sufferings, because we know that suffering produces perseverance; perseverance, character; and character, hope. And hope does not disappoint us.”

Romans 5:3–5

“The frog was a prince / The prince was a brick / The brick was an egg / The egg was a bird”

Genesis, “Supper’s Ready”

5. Polyptoton

Polyptoton is unique in that it’s a repetition of the root word. For example, you can use similar words like “strength” and “strong” instead of just repeating the same word.

Polyptoton examples:

“It is the same with all the powerful of to-day; it is the same, for instance, with the high-placed and high-paid official. Not only is the judge not judicial, but the arbiter is not even arbitrary.”

— G.K. Chesterton, The Man on Top

“Judge not, that ye be not judged.”

Matthew 7:1

“Not as a call to battle, though embattled we are.”

John F. Kennedy, Inaugural Address, January 20, 1961

“Absolute power corrupts absolutely.”

Lord Acton

6. Isocolon

Isocolon is a literary device you can use to create parallel structures in your length and rhythm.

Isocolon examples:

“Melts in your mouth, not in your hands.”

M&Ms

“With malice toward none, with charity toward all, with firmness in the right…”

Abraham Lincoln, Second Inaugural Address

“I’m a Pepper, he’s a Pepper, she’s a Pepper, we’re a Pepper — Wouldn’t you like to be a Pepper, too? Dr. Pepper!”

Dr. Pepper advertising jingle

“Heal the sick, cleanse the lepers, raise the dead, cast out devils: freely ye have received, freely give.”

Matthew 10:8

7. Chiasmus

Chiasmus is a reversal structure used for artistic effect. With this literary device, you basically criss-cross phrases to convey a similar—not identical—meaning.

Chiasmus examples:

“Mankind must put an end to war or war will put an end to mankind.”

John F. Kennedy

“Woe unto that call evil good, and good evil; that put darkness for light, and light for darkness; that put bitter for sweet, and sweet for bitter!”

Isaiah 5:20

“They say money don’t make the man but man, I’m makin’ money.”

Tupac Shakur, “Thug Passion”

8. Anastrophe

Anastrope refers to an inversion of words, which will make perfect sense in a moment (assuming your a fan of Star Wars). You can use this literary device to emphasize a word or phrase.

Anastrope examples:

” Deep into that darkness peering, long I stood there wondering, fearing.”

Edgar Allan Poe, “The Raven”

“Joined the Dark Side, Dooku has. Lies, deceit, creating mistrust are his ways now.”

Yoda

“I sing of arms and the man, who first from the shores of Troy.”

Virgil, the first line of Aeneid

“Never have I found the limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance”

Eugene Smith

“Her mother is the lady of the house, And a good lady, and wise and virtuous. I nursed her daughter that you talked withal. I tell you, he that can lay hold of her, Shall have the chinks.”

Shakespeare, Romeo and Juliet

9. Polysyndeton

Polysyndeto is a literary device where you use extra conjunctions (e.g., and, but)—frequently in quick succession—to create a stylistic effect.

Polysyndeton examples:

“And every living substance was destroyed which was upon the face of the ground, both man, and cattle, and the creeping things, and the fowl of the heaven; and they were destroyed from the earth: and Noah only remained alive, and they that were with him in the ark.”

Genesis 7:3

“If there be cords, or knives, or poison, or fire, or suffocating streams, I’ll not endure it”

Shakespeare, Othello

“And St. Attila raised his hand grenade up on high saying ‘O Lord bless this thy hand grenade that with it thou mayest blow thine enemies to tiny bits, in thy mercy. ‘and the Lord did grin and people did feast upon the lambs and sloths and carp and anchovies and orangutans and breakfast cereals and fruit bats and …'”

Monty Python and the Holy Grail

“I said, ‘Who killed him?’ and he said ‘I don’t know who killed him, but he’s dead all right,’ and it was dark and there was water standing in the street and no lights or windows broke and boats all up in the town and trees blown down and everything all blown and I got a skiff and went out and found my boat where I had her inside Mango Key and she was right only she was full of water.”

Ernest Hemingway, “After the Storm.”

10. Asyndeton

Asyndeton is a writing style where you leave out conjunctions to write direct statements for effect. If used correctly, this literary device can create a beautiful, memorable rhythm in your writing.

Asyndeton examples:

“We shall go on to the end, we shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our Island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender. . .”

Winston Churchill, “We Shall Fight on the Beaches”

“…and that government of the people, by the people, for the people shall not perish from the earth.”

Abraham Lincoln, Gettysburg Address

“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.”

John F. Kennedy, Inaugural Address

“And whatsoever mine eyes desired I kept not from them, I withheld not my heart from any joy; for my heart rejoiced in all my labour: and this was my portion of all my labour.”

Ecclesiastes 2:10

11. Litotes

Litotes is a figure of speech you can use to affirm something positive by making an understatement. After you take a gander at the examples below, you’ll see that this literary device is commonly used in everyday conversations and popular literature.

Litotes examples:

“Not bad” (to say something is good)

“He’s not as young as he used to be” (meaning “he’s old”)

“Keep an eye on your mother whom we both know doesn’t have both oars in the water.”

Jim Harrison, The Road Home

“I will multiply them, and they shall not be few; I will make them honored, and they shall not be small.”

Jeremiah 30:19

“Are you also aware, Mrs. Bueller, that Ferris does not have what we consider to be an exemplary attendance record?”

Ferris Bueller’s Day Off

12. Hypophora

In short, hypophora is when you ask a question and then answer the question you just asked. Unlike a rhetorical question, to use this literary device, you’ll need to answer the question you pose immediately.

Hypophora examples:

“What made me take this trip to Africa? There is no quick explanation. Things got worse and worse and worse and pretty soon they were too complicated.”

Saul Bellow, Henderson the Rain King

Are they Hebrews? So am I. Are they Israelites? So am I. Are they the seed of Abraham? So am I.

1 Corinthians 11:21-22

“Oh, what did you see, my blue-eyed son?

Oh, what did you see, my darling young one?

I saw a newborn baby with wild wolves all around it

I saw a highway of diamonds with nobody on it,

I saw a black branch with blood that kept drippin’,

I saw a room full of men with their hammers a-bleedin’,

I saw a white ladder all covered with water,

I saw ten thousand talkers whose tongues were all broken,

I saw guns and sharp swords in the hands of young children,

Bob Dylan, “A Hard Rain’s A-Gonna Fall.”

Another warning literary devices and style

I admit.

This could be an exercise in dilettantism. An argument for fashion over function. In the hard and fast competition found on a search results page, most people just want answers to their questions. They want substance over style. Function over fashion.

Fair enough.

That, however, is only true in a market that is not saturated. If you hobnob in an industry drowning in competitors, on the other hand, then substance alone is not enough. You need style — among other things — to stand out.

So, bookmark this post, then carve out some time to study these devices.

Question: How many of these devices did I use in this article?

The post 12 Uncommon Literary Devices to Give Your Writing Irresistible Style appeared first on Copybot.

from SEO Tips https://thecopybot.com/literary-devices-web-style/

[logancfrench]

12 Uncommon Literary Devices to Give Your Writing Irresistible Style

So I bummed this book from a neighbor. It’s a book on classic English rhetoric. Or verbal style.

She initially pulled it off her shelf to show me because of the name of the author: Ward Farnsworth.

Not an exact rendering of my last name (it’s Farnworth, no “s”). And that’s not pretentious posturing on my part — it has been that way for generations.

But it didn’t really matter who wrote the book. I fell in love with it on the spot.

Each chapter is devoted to a literary device like anaphora, chiasmus, and litotes That may sound like nonsense to you, but they’re just fancy words for rhetorical devices you’ll quickly recognize.

Furthermore, each device is broken down into subspecies, complete with examples from notable sources like Shakespeare, Churchill, Chesterton, and the Bible (and I threw in a few by Tupac Shukar, Monty Python and the Holy Grail, and Bob Dylan).

What is a literary device?

Before diving into these uncommon literary devices, let’s take a quick detour.

Talking about literary devices, figures of speech and writing style can be intimidating for many.

After scouring the web and referring to a few additional books, I didn’t come across an agreed upon definition of literary devices. So here’s my take:

A literary device is a technique you can use to create a special effect on your writing.

Think about it this way.

When writing a story or making a point, you can just use the facts, which is totally fine for in some cases like journalism, or you can liven things up a bit with a literary device.

Here’s an example of a literary device to illustrate what I’m talking about:

“The rain was heavy this afternoon as I walked to my car.”

“The rain played tag with me as I ran to my car to get shelter.”

The first sentence is just a statement about the rain. It is what it is. It’s like a reporter sharing her observation about today’s weather, and it doesn’t lead the reader to think anything specific about the rain.

The second sentence basically says the same thing. To make the rain come alive (“The rain played tag”), I used a literary device known as personification to create an image in the mind of the reader. I mean, who hasn’t tried to run away from the rain?

Literary devices are tools writers can use that are similar to tactics producers can use in film, television, or theater. By adding makeup, using costumes, or utilizing computer graphics, producers can create special effects to convey a specific visual.

Here’s one example of before-and-after scenes using special effects:

Sure, the producer could have asked the actor to wear a costume or put on makeup. But you have to admit; the computer graphics really takes the look of this character to the next level.

This is really how literary devices work in their basic form. They can add special effects to your writing and transform the experience of your readers.

Why literary devices are essential to web writing

There’s a lot of good substance out there. Hardly any style, though. This isn’t an accident.

Most people who peddle content are tradespeople first, writers second. In other words, their authority rests in a discipline other than writing.

Sometimes their content feels as if it’s meant to feed a machine when the creator will tell you plainly that is not the case. They are writing for people, which is one key to writing a blog post people will actually read.

Fair enough. But technical writers also write for people.

A list of literary devices to add style to your content

I look at some pieces, though, and I think the designer probably got paid really good money. The writer, not so much.

This is not to say style should be a pretentious exercise in drawing attention to itself. It should not be a navel-gazing sentence by James Joyce or a long-winded, baroque one from Faulkner (whom I adore).

Great web writing demands the plainness of Hemingway and the clarity of Orwell and the playfulness of E. E. Cummings. And you can do it while honoring the simplicity of Strunk.

And mastering these 12 uncommon literary devices from Mr. Farnsworth’s book is a great place to start if you are a greenhorn … a great place to beef up your skill set if you are a veteran. Enjoy.

1. Epizeuxis

Epizeuxis is a simple repetition of words and phrases. This literary device is often used for emphasis, and oftentimes, there are no additional words in between. The quick repetition of words or phrases will arrest the attention of your readers.

Epizeuxis examples:

“Holy, holy, holy is the Lord of hosts; the whole earth is full of his glory!”

Isaiah 6:3

“Never give in — never, never, never, never, in nothing great or small, large or petty, never give in except to convictions of honour and good sense. Never yield to force; never yield to the apparently overwhelming might of the enemy.”

Winston Churchill

“But you never know now do you now do you now do you.”

David Foster Wallace, Brief Interviews with Hideous Men

2. Anaphora

Anaphora is repetition at the beginning of successive statements. In writing or speeches, you can use this literary device to create an artistic effect, or you can repeat one phrase to weave together several points together.

Anaphora examples:

Mad world! Mad kings! Mad composition!

William Shakespeare, King John, II

But woe unto you, scribes and Pharisees, hypocrites! for ye shut up the kingdom of heaven against men: for ye neither go in yourselves, neither suffer ye them that are entering to go in.

Woe unto you, scribes and Pharisees, hypocrites! for ye devour widows’ houses, and for a pretense make long prayer: therefore ye shall receive the greater damnation.

Woe unto you, scribes and Pharisees, hypocrites! for ye compass sea and land to make one proselyte, and when he is made, ye make him twofold more the child of hell than yourselves.

Woe unto you, ye blind guides, which say, Whosoever shall swear by the temple, it is nothing; but whosoever shall swear by the gold of the temple, he is a debtor!

Matthew 23:13-16

3. Epistrophe

Epistrophe is similar to anaphora, but with a twist—this literary device uses repetition of words or phrases at the end.

Epistrophe examples:

When I was a child, I spoke as a child, I understood as a child, I thought as a child.

1 Corinthians 13:11 (King James Translation)

“What lies behind us and what lies before us are tiny compared to what lies within us.”

Ralph Waldo Emerson

“There is no Negro problem. There is no Southern problem. There is no Northern problem. There is only an American problem.”

Lyndon B. Johnson in “We Shall Overcome”

4. Anadiplosis

Abnadiplosis is the repetition of a word or phrase at the beginning and end of a sentence. This literary device creates a sweet flow in certain forms of writing.

Abnadiplosis examples:

“Fear leads to anger. Anger leads to hate. Hate leads to suffering.”

Yoda, Star Wars

“We also rejoice in our sufferings, because we know that suffering produces perseverance; perseverance, character; and character, hope. And hope does not disappoint us.”

Romans 5:3–5

“The frog was a prince / The prince was a brick / The brick was an egg / The egg was a bird”

Genesis, “Supper’s Ready”

5. Polyptoton

Polyptoton is unique in that it’s a repetition of the root word. For example, you can use similar words like “strength” and “strong” instead of just repeating the same word.

Polyptoton examples:

“It is the same with all the powerful of to-day; it is the same, for instance, with the high-placed and high-paid official. Not only is the judge not judicial, but the arbiter is not even arbitrary.”

— G.K. Chesterton, The Man on Top

“Judge not, that ye be not judged.”

Matthew 7:1

“Not as a call to battle, though embattled we are.”

John F. Kennedy, Inaugural Address, January 20, 1961

“Absolute power corrupts absolutely.”

Lord Acton

6. Isocolon

Isocolon is a literary device you can use to create parallel structures in your length and rhythm.

Isocolon examples:

“Melts in your mouth, not in your hands.”

M&Ms

“With malice toward none, with charity toward all, with firmness in the right…”

Abraham Lincoln, Second Inaugural Address

“I’m a Pepper, he’s a Pepper, she’s a Pepper, we’re a Pepper — Wouldn’t you like to be a Pepper, too? Dr. Pepper!”

Dr. Pepper advertising jingle

“Heal the sick, cleanse the lepers, raise the dead, cast out devils: freely ye have received, freely give.”

Matthew 10:8

7. Chiasmus

Chiasmus is a reversal structure used for artistic effect. With this literary device, you basically criss-cross phrases to convey a similar—not identical—meaning.

Chiasmus examples:

“Mankind must put an end to war or war will put an end to mankind.”

John F. Kennedy

“Woe unto that call evil good, and good evil; that put darkness for light, and light for darkness; that put bitter for sweet, and sweet for bitter!”

Isaiah 5:20

“They say money don’t make the man but man, I’m makin’ money.”

Tupac Shakur, “Thug Passion”

8. Anastrophe

Anastrope refers to an inversion of words, which will make perfect sense in a moment (assuming your a fan of Star Wars). You can use this literary device to emphasize a word or phrase.

Anastrope examples:

” Deep into that darkness peering, long I stood there wondering, fearing.”

Edgar Allan Poe, “The Raven”

“Joined the Dark Side, Dooku has. Lies, deceit, creating mistrust are his ways now.”

Yoda

“I sing of arms and the man, who first from the shores of Troy.”

Virgil, the first line of Aeneid

“Never have I found the limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance”

Eugene Smith

“Her mother is the lady of the house, And a good lady, and wise and virtuous. I nursed her daughter that you talked withal. I tell you, he that can lay hold of her, Shall have the chinks.”

Shakespeare, Romeo and Juliet

9. Polysyndeton

Polysyndeto is a literary device where you use extra conjunctions (e.g., and, but)—frequently in quick succession—to create a stylistic effect.

Polysyndeton examples:

“And every living substance was destroyed which was upon the face of the ground, both man, and cattle, and the creeping things, and the fowl of the heaven; and they were destroyed from the earth: and Noah only remained alive, and they that were with him in the ark.”

Genesis 7:3

“If there be cords, or knives, or poison, or fire, or suffocating streams, I’ll not endure it”

Shakespeare, Othello

“And St. Attila raised his hand grenade up on high saying ‘O Lord bless this thy hand grenade that with it thou mayest blow thine enemies to tiny bits, in thy mercy. ‘and the Lord did grin and people did feast upon the lambs and sloths and carp and anchovies and orangutans and breakfast cereals and fruit bats and …'”

Monty Python and the Holy Grail

“I said, ‘Who killed him?’ and he said ‘I don’t know who killed him, but he’s dead all right,’ and it was dark and there was water standing in the street and no lights or windows broke and boats all up in the town and trees blown down and everything all blown and I got a skiff and went out and found my boat where I had her inside Mango Key and she was right only she was full of water.”

Ernest Hemingway, “After the Storm.”

10. Asyndeton

Asyndeton is a writing style where you leave out conjunctions to write direct statements for effect. If used correctly, this literary device can create a beautiful, memorable rhythm in your writing.

Asyndeton examples:

“We shall go on to the end, we shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our Island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender. . .”

Winston Churchill, “We Shall Fight on the Beaches”

“…and that government of the people, by the people, for the people shall not perish from the earth.”

Abraham Lincoln, Gettysburg Address

“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.”

John F. Kennedy, Inaugural Address

“And whatsoever mine eyes desired I kept not from them, I withheld not my heart from any joy; for my heart rejoiced in all my labour: and this was my portion of all my labour.”

Ecclesiastes 2:10

11. Litotes

Litotes is a figure of speech you can use to affirm something positive by making an understatement. After you take a gander at the examples below, you’ll see that this literary device is commonly used in everyday conversations and popular literature.

Litotes examples:

“Not bad” (to say something is good)

“He’s not as young as he used to be” (meaning “he’s old”)

“Keep an eye on your mother whom we both know doesn’t have both oars in the water.”

Jim Harrison, The Road Home

“I will multiply them, and they shall not be few; I will make them honored, and they shall not be small.”

Jeremiah 30:19

“Are you also aware, Mrs. Bueller, that Ferris does not have what we consider to be an exemplary attendance record?”

Ferris Bueller’s Day Off

12. Hypophora

In short, hypophora is when you ask a question and then answer the question you just asked. Unlike a rhetorical question, to use this literary device, you’ll need to answer the question you pose immediately.

Hypophora examples:

“What made me take this trip to Africa? There is no quick explanation. Things got worse and worse and worse and pretty soon they were too complicated.”

Saul Bellow, Henderson the Rain King

Are they Hebrews? So am I. Are they Israelites? So am I. Are they the seed of Abraham? So am I.

1 Corinthians 11:21-22

“Oh, what did you see, my blue-eyed son?

Oh, what did you see, my darling young one?

I saw a newborn baby with wild wolves all around it

I saw a highway of diamonds with nobody on it,

I saw a black branch with blood that kept drippin’,

I saw a room full of men with their hammers a-bleedin’,

I saw a white ladder all covered with water,

I saw ten thousand talkers whose tongues were all broken,

I saw guns and sharp swords in the hands of young children,

Bob Dylan, “A Hard Rain’s A-Gonna Fall.”

Another warning literary devices and style

I admit.

This could be an exercise in dilettantism. An argument for fashion over function. In the hard and fast competition found on a search results page, most people just want answers to their questions. They want substance over style. Function over fashion.

Fair enough.

That, however, is only true in a market that is not saturated. If you hobnob in an industry drowning in competitors, on the other hand, then substance alone is not enough. You need style — among other things — to stand out.

So, bookmark this post, then carve out some time to study these devices.

Question: How many of these devices did I use in this article?

The post 12 Uncommon Literary Devices to Give Your Writing Irresistible Style appeared first on Copybot.

from News By Logan French https://thecopybot.com/literary-devices-web-style/

[chrisfvargas]

12 Uncommon Literary Devices to Give Your Writing Irresistible Style

So I bummed this book from a neighbor. It’s a book on classic English rhetoric. Or verbal style.

She initially pulled it off her shelf to show me because of the name of the author: Ward Farnsworth.

Not an exact rendering of my last name (it’s Farnworth, no “s”). And that’s not pretentious posturing on my part — it has been that way for generations.

But it didn’t really matter who wrote the book. I fell in love with it on the spot.

Each chapter is devoted to a literary device like anaphora, chiasmus, and litotes That may sound like nonsense to you, but they’re just fancy words for rhetorical devices you’ll quickly recognize.

Furthermore, each device is broken down into subspecies, complete with examples from notable sources like Shakespeare, Churchill, Chesterton, and the Bible (and I threw in a few by Tupac Shukar, Monty Python and the Holy Grail, and Bob Dylan).

What is a literary device?

Before diving into these uncommon literary devices, let’s take a quick detour.

Talking about literary devices, figures of speech and writing style can be intimidating for many.

After scouring the web and referring to a few additional books, I didn’t come across an agreed upon definition of literary devices. So here’s my take:

A literary device is a technique you can use to create a special effect on your writing.

Think about it this way.

When writing a story or making a point, you can just use the facts, which is totally fine for in some cases like journalism, or you can liven things up a bit with a literary device.

Here’s an example of a literary device to illustrate what I’m talking about:

“The rain was heavy this afternoon as I walked to my car.”

“The rain played tag with me as I ran to my car to get shelter.”

The first sentence is just a statement about the rain. It is what it is. It’s like a reporter sharing her observation about today’s weather, and it doesn’t lead the reader to think anything specific about the rain.

The second sentence basically says the same thing. To make the rain come alive (“The rain played tag”), I used a literary device known as personification to create an image in the mind of the reader. I mean, who hasn’t tried to run away from the rain?

Literary devices are tools writers can use that are similar to tactics producers can use in film, television, or theater. By adding makeup, using costumes, or utilizing computer graphics, producers can create special effects to convey a specific visual.

Here’s one example of before-and-after scenes using special effects:

Sure, the producer could have asked the actor to wear a costume or put on makeup. But you have to admit; the computer graphics really takes the look of this character to the next level.

This is really how literary devices work in their basic form. They can add special effects to your writing and transform the experience of your readers.

Why literary devices are essential to web writing

There’s a lot of good substance out there. Hardly any style, though. This isn’t an accident.

Most people who peddle content are tradespeople first, writers second. In other words, their authority rests in a discipline other than writing.

Sometimes their content feels as if it’s meant to feed a machine when the creator will tell you plainly that is not the case. They are writing for people, which is one key to writing a blog post people will actually read.

Fair enough. But technical writers also write for people.

A list of literary devices to add style to your content

I look at some pieces, though, and I think the designer probably got paid really good money. The writer, not so much.

This is not to say style should be a pretentious exercise in drawing attention to itself. It should not be a navel-gazing sentence by James Joyce or a long-winded, baroque one from Faulkner (whom I adore).

Great web writing demands the plainness of Hemingway and the clarity of Orwell and the playfulness of E. E. Cummings. And you can do it while honoring the simplicity of Strunk.

And mastering these 12 uncommon literary devices from Mr. Farnsworth’s book is a great place to start if you are a greenhorn … a great place to beef up your skill set if you are a veteran. Enjoy.

1. Epizeuxis

Epizeuxis is a simple repetition of words and phrases. This literary device is often used for emphasis, and oftentimes, there are no additional words in between. The quick repetition of words or phrases will arrest the attention of your readers.

Epizeuxis examples:

“Holy, holy, holy is the Lord of hosts; the whole earth is full of his glory!”

Isaiah 6:3

“Never give in — never, never, never, never, in nothing great or small, large or petty, never give in except to convictions of honour and good sense. Never yield to force; never yield to the apparently overwhelming might of the enemy.”

Winston Churchill

“But you never know now do you now do you now do you.”

David Foster Wallace, Brief Interviews with Hideous Men

2. Anaphora

Anaphora is repetition at the beginning of successive statements. In writing or speeches, you can use this literary device to create an artistic effect, or you can repeat one phrase to weave together several points together.

Anaphora examples:

Mad world! Mad kings! Mad composition!

William Shakespeare, King John, II

But woe unto you, scribes and Pharisees, hypocrites! for ye shut up the kingdom of heaven against men: for ye neither go in yourselves, neither suffer ye them that are entering to go in.

Woe unto you, scribes and Pharisees, hypocrites! for ye devour widows’ houses, and for a pretense make long prayer: therefore ye shall receive the greater damnation.

Woe unto you, scribes and Pharisees, hypocrites! for ye compass sea and land to make one proselyte, and when he is made, ye make him twofold more the child of hell than yourselves.

Woe unto you, ye blind guides, which say, Whosoever shall swear by the temple, it is nothing; but whosoever shall swear by the gold of the temple, he is a debtor!

Matthew 23:13-16

3. Epistrophe

Epistrophe is similar to anaphora, but with a twist—this literary device uses repetition of words or phrases at the end.

Epistrophe examples:

When I was a child, I spoke as a child, I understood as a child, I thought as a child.

1 Corinthians 13:11 (King James Translation)

“What lies behind us and what lies before us are tiny compared to what lies within us.”

Ralph Waldo Emerson

“There is no Negro problem. There is no Southern problem. There is no Northern problem. There is only an American problem.”

Lyndon B. Johnson in “We Shall Overcome”

4. Anadiplosis

Abnadiplosis is the repetition of a word or phrase at the beginning and end of a sentence. This literary device creates a sweet flow in certain forms of writing.

Abnadiplosis examples:

“Fear leads to anger. Anger leads to hate. Hate leads to suffering.”

Yoda, Star Wars

“We also rejoice in our sufferings, because we know that suffering produces perseverance; perseverance, character; and character, hope. And hope does not disappoint us.”

Romans 5:3–5

“The frog was a prince / The prince was a brick / The brick was an egg / The egg was a bird”

Genesis, “Supper’s Ready”

5. Polyptoton

Polyptoton is unique in that it’s a repetition of the root word. For example, you can use similar words like “strength” and “strong” instead of just repeating the same word.

Polyptoton examples:

“It is the same with all the powerful of to-day; it is the same, for instance, with the high-placed and high-paid official. Not only is the judge not judicial, but the arbiter is not even arbitrary.”

— G.K. Chesterton, The Man on Top

“Judge not, that ye be not judged.”

Matthew 7:1

“Not as a call to battle, though embattled we are.”

John F. Kennedy, Inaugural Address, January 20, 1961

“Absolute power corrupts absolutely.”

Lord Acton

6. Isocolon

Isocolon is a literary device you can use to create parallel structures in your length and rhythm.

Isocolon examples:

“Melts in your mouth, not in your hands.”

M&Ms

“With malice toward none, with charity toward all, with firmness in the right…”

Abraham Lincoln, Second Inaugural Address

“I’m a Pepper, he’s a Pepper, she’s a Pepper, we’re a Pepper — Wouldn’t you like to be a Pepper, too? Dr. Pepper!”

Dr. Pepper advertising jingle

“Heal the sick, cleanse the lepers, raise the dead, cast out devils: freely ye have received, freely give.”

Matthew 10:8

7. Chiasmus

Chiasmus is a reversal structure used for artistic effect. With this literary device, you basically criss-cross phrases to convey a similar—not identical—meaning.

Chiasmus examples:

“Mankind must put an end to war or war will put an end to mankind.”

John F. Kennedy

“Woe unto that call evil good, and good evil; that put darkness for light, and light for darkness; that put bitter for sweet, and sweet for bitter!”

Isaiah 5:20

“They say money don’t make the man but man, I’m makin’ money.”

Tupac Shakur, “Thug Passion”

8. Anastrophe

Anastrope refers to an inversion of words, which will make perfect sense in a moment (assuming your a fan of Star Wars). You can use this literary device to emphasize a word or phrase.

Anastrope examples:

” Deep into that darkness peering, long I stood there wondering, fearing.”

Edgar Allan Poe, “The Raven”

“Joined the Dark Side, Dooku has. Lies, deceit, creating mistrust are his ways now.”

Yoda

“I sing of arms and the man, who first from the shores of Troy.”

Virgil, the first line of Aeneid

“Never have I found the limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance”

Eugene Smith

“Her mother is the lady of the house, And a good lady, and wise and virtuous. I nursed her daughter that you talked withal. I tell you, he that can lay hold of her, Shall have the chinks.”

Shakespeare, Romeo and Juliet

9. Polysyndeton

Polysyndeto is a literary device where you use extra conjunctions (e.g., and, but)—frequently in quick succession—to create a stylistic effect.

Polysyndeton examples:

“And every living substance was destroyed which was upon the face of the ground, both man, and cattle, and the creeping things, and the fowl of the heaven; and they were destroyed from the earth: and Noah only remained alive, and they that were with him in the ark.”

Genesis 7:3

“If there be cords, or knives, or poison, or fire, or suffocating streams, I’ll not endure it”

Shakespeare, Othello

“And St. Attila raised his hand grenade up on high saying ‘O Lord bless this thy hand grenade that with it thou mayest blow thine enemies to tiny bits, in thy mercy. ‘and the Lord did grin and people did feast upon the lambs and sloths and carp and anchovies and orangutans and breakfast cereals and fruit bats and …'”

Monty Python and the Holy Grail

“I said, ‘Who killed him?’ and he said ‘I don’t know who killed him, but he’s dead all right,’ and it was dark and there was water standing in the street and no lights or windows broke and boats all up in the town and trees blown down and everything all blown and I got a skiff and went out and found my boat where I had her inside Mango Key and she was right only she was full of water.”

Ernest Hemingway, “After the Storm.”

10. Asyndeton

Asyndeton is a writing style where you leave out conjunctions to write direct statements for effect. If used correctly, this literary device can create a beautiful, memorable rhythm in your writing.

Asyndeton examples:

“We shall go on to the end, we shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our Island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender. . .”

Winston Churchill, “We Shall Fight on the Beaches”

“…and that government of the people, by the people, for the people shall not perish from the earth.”

Abraham Lincoln, Gettysburg Address

“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.”

John F. Kennedy, Inaugural Address

“And whatsoever mine eyes desired I kept not from them, I withheld not my heart from any joy; for my heart rejoiced in all my labour: and this was my portion of all my labour.”

Ecclesiastes 2:10

11. Litotes

Litotes is a figure of speech you can use to affirm something positive by making an understatement. After you take a gander at the examples below, you’ll see that this literary device is commonly used in everyday conversations and popular literature.

Litotes examples:

“Not bad” (to say something is good)

“He’s not as young as he used to be” (meaning “he’s old”)

“Keep an eye on your mother whom we both know doesn’t have both oars in the water.”

Jim Harrison, The Road Home

“I will multiply them, and they shall not be few; I will make them honored, and they shall not be small.”

Jeremiah 30:19

“Are you also aware, Mrs. Bueller, that Ferris does not have what we consider to be an exemplary attendance record?”

Ferris Bueller’s Day Off

12. Hypophora

In short, hypophora is when you ask a question and then answer the question you just asked. Unlike a rhetorical question, to use this literary device, you’ll need to answer the question you pose immediately.

Hypophora examples:

“What made me take this trip to Africa? There is no quick explanation. Things got worse and worse and worse and pretty soon they were too complicated.”

Saul Bellow, Henderson the Rain King

Are they Hebrews? So am I. Are they Israelites? So am I. Are they the seed of Abraham? So am I.

1 Corinthians 11:21-22

“Oh, what did you see, my blue-eyed son?

Oh, what did you see, my darling young one?

I saw a newborn baby with wild wolves all around it

I saw a highway of diamonds with nobody on it,

I saw a black branch with blood that kept drippin’,

I saw a room full of men with their hammers a-bleedin’,

I saw a white ladder all covered with water,

I saw ten thousand talkers whose tongues were all broken,

I saw guns and sharp swords in the hands of young children,

Bob Dylan, “A Hard Rain’s A-Gonna Fall.”

Another warning literary devices and style

I admit.

This could be an exercise in dilettantism. An argument for fashion over function. In the hard and fast competition found on a search results page, most people just want answers to their questions. They want substance over style. Function over fashion.

Fair enough.

That, however, is only true in a market that is not saturated. If you hobnob in an industry drowning in competitors, on the other hand, then substance alone is not enough. You need style — among other things — to stand out.

So, bookmark this post, then carve out some time to study these devices.

Question: How many of these devices did I use in this article?

The post 12 Uncommon Literary Devices to Give Your Writing Irresistible Style appeared first on Copybot.

from Internet Marketing https://thecopybot.com/literary-devices-web-style/