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Creative Writing
Quarter 1 – Module 3:
Literary Elements, Techniques, &
Devices in Various Modes of Fiction
 Let Us Learn!

This module is designed to guide you in understanding and experiencing new concepts in
creative writing. This will help you to identify elements, techniques & literary devices in
literature. You will also learn the relevance of mode in reading and in writing. The lessons are
logically arranged to follow the the structure of the subject. Respond to the lessons actively
and you will harnss the gem of this lesson.

This module is divided into two lessons, namely:

1. identify elements, techniques and literary devices in literature in various modes of
fiction; and.
2. write journal entries and other short compositions exploring key elements of fiction

After going through this module, you are expected to

1. Define narrative mode in literature;
2. Identify elements, techniques and literary devices;
3. Supply a dialogue chain;
4. List the elements, techniques, and literary devices in literature; and,
5. Write journal entries and short compositions.

Let Us Try!
Directions: Choose the letter of your answer.

1. Any specific aspect of literature, or a particular work, which we can recognize, identify,
interpret and/or analyze.
a. Literary device c. Literary Element
b. Literary Techniques Creative License

2. Exaggeration or alteration of objective facts or reality for the purpose of enhancing

meaning in a fictional context.
a. Dramatic irony c. Exposition
b. Anthropomorphism d. Creative license

3. Language which describes something in detail, using words to substitute for and
create sensory stimulation.
a. Irony c. Figurative language
b. Imagery d. Paradox

4. This line is taken from the novel A Tale of Two Cities. What figurative language is this:
It was the best of times, it was the worst of times.
a. Paradox c. Irony
b. Oxymoron d. Parallelism

5. What figurative language is used in this line: The moon appeared crimson, like a drop
of blood hanging in the sky.
a. Symbolism c. Simile
b. Oxymoron d. Repetition

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6. Identify what type of irony is statement: Macbeth responds with disbelief when the
weird sisters call him Thane of Cawdor; ironically, unbeknownst to him, he had been
granted that title by King Duncan in the previous scene.
a. Dramatic Irony c. Situational Irony
b. Verbal Irony d. Cosmic Irony

7. It is the author’s means of conveying to the reader a character’s personality, life,

history, values and physical attributes.
a. Context b. Conflict c. Characterization d. Antagonism

8. The blood is an important concept in the novel A Tale of Two Cities, appearing
numerous times throughout the novel. Blood is an example of:
a. Mood b. Theme c. Motif d. Tragic Flaw

9. Othello is a jealous man. His jealousy consumes him so thoroughly that he is driven
to murdering his wife rather than accepting her infidelity. Jealousy is an example of
____________.
a. Conflicting attitude c. Tragic Flaw
b. Tragic figure d. Conflicting Structure

10. A protagonist who comes to a bad end as a result of his own behavior, usually caused
by a specific personality disorder.
a. Conflicting attitude c. Tragic Flaw
b. Tragic figure d. Conflicting Structure

11. What example of narrative mode is this:Her eyes were brighter than the sapphires in
the armrests of the Tipu Sultan's golden throne, yet sharper than the tulwars of his
cruelest executioners.
a. Action c. Dialogue
b. Description d. Thought and monologue

12. It is the vocalization of a character’s thoughts; in literature, the verbalization. It is

traditionally a device used in theater—a speech to be given on stage—but nowadays,
its use extends to film and television.
a. Action c. Dialogue
b. Description d. Thought and monologue

13. What narrative mode is exemplified below:

“Oh! Single, my dear, to be sure! A single man of large fortune; four or five thousand a
year. What a fine thing for our girls!”

“How so? How can it affect them?”

“My dear Mr. Bennet, “replied his wife, “how can you be so tiresome! You must know
that I am thinking of his marrying one of them…

My dear, you flatter me. I certainly have had my share of beauty, but I do not pretend
to be anything extraordinary now…she ought to give over thinking of her on beauty.”

a. Action c. Dialogue
b. Description d. Thought and monologue

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 14. The arc of the story and reveals information about the characters. It is something that
happens and can include dialogue, gestures, and other activities.
a. Action c. Thought and monologue
b. Description d. Exposition

15. Is used near the beginning of a story to fill in the blanks for readers (think back story).
It’s also used in transitions, between scenes, to quickly get readers up to speed when
time passes or the new scene takes place in a location different from the previous
scene. Transitions are also commonly used when the viewpoint character changes.
a. Action b. Description c. Dialogue d. Exposition

Let Us Study

IDENTIFYING ELEMENTS, DEVICES

AND TECHNIQUES IN VARIOUS MODES

Reading literature is a fun-filled experience. It allows you to delve in the world of the
unknown and set sail on the vast ocean of impossibilities which is made possible through the
art of imagination. This module will allow you to just do exactly that. Now, let us know how
far along you are to appreciating writing fiction as a venture by knowing your aptitude in the
elements, devices and techniques often discussed in literature class.

What’s In
In reading fiction, we often encounter common literary features across all types.
We call them literary elements. A literary element or narrative element is an
essential component of any literature. They are (and must be) present in all works of fiction.
These include: characters, setting, plot, conflict and theme.

Here is an example of fiction. Read and answer the questions that come after.

The Cask of Amontillado

– by Edgar Allan Poe

THE thousand injuries of Fortunato I had borne as I best could, but when he ventured
upon insult, I vowed revenge. You, who so well know the nature of my soul, will not suppose,
however, that I gave utterance to a threat. AT LENGTH I would be avenged; this was a point
definitively settled -- but the very definitiveness with which it was resolved precluded the idea
of risk. I must not only punish, but punish with impunity. A wrong is unredressed when
retribution overtakes its redresser. It is equally unredressed when the avenger fails to make
himself felt as such to him who has done the wrong.

It must be understood that neither by word nor deed had I given Fortunato cause to
doubt my good will. I continued as was my wont, to smile in his face, and he did not perceive
that my smile NOW was at the thought of his immolation.

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 He had a weak point -- this Fortunato -- although in other regards he was a man to be
respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the
true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity
to practise imposture upon the British and Austrian MILLIONAIRES. In painting and gemmary,
Fortunato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In this
respect I did not differ from him materially; I was skillful in the Italian vintages myself, and bought
largely whenever I could.
It was about dusk, one evening during the supreme madness of the carnival season, that I
encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The
man wore motley. He had on a tight-fitting parti-striped dress and his head was surmounted by the
conical cap and bells. I was so pleased to see him, that I thought I should never have done wringing
his hand.
I said to him -- "My dear Fortunato, you are luckily met. How remarkably well you are looking
to-day! But I have received a pipe of what passes for Amontillado, and I have my doubts."
"How?" said he, "Amontillado? A pipe? Impossible? And in the middle of the carnival?"
"I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price without
consulting you in the matter. You were not to be found, and I was fearful of losing a bargain."
"Amontillado!"
"I have my doubts."
"Amontillado!"
"And I must satisfy them."
"Amontillado!"
"As you are engaged, I am on my way to Luchesi. If anyone has a critical turn, it is he. He will
tell me" --
"Luchesi cannot tell Amontillado from Sherry."
"And yet some fools will have it that his taste is a match for your own."
"Come let us go."
"Whither?"
"To your vaults."
"My friend, no; I will not impose upon your good nature. I perceive you have an engagement
Luchesi" --
"I have no engagement; come."
"My friend, no. It is not the engagement, but the severe cold with which I perceive you are
afflicted. The vaults are insufferably damp. They are encrusted with nitre."
"Let us go, nevertheless. The cold is merely nothing. Amontillado! You have been imposed
upon; and as for Luchesi, he cannot distinguish Sherry from Amontillado."
Thus speaking, Fortunato possessed himself of my arm. Putting on a mask of black silk and
drawing a roquelaire closely about my person, I suffered him to hurry me to my palazzo.
There were no attendants at home; they had absconded to make merry in honour of the time.
I had told them that I should not return until the morning and had given them explicit orders not to
stir from the house. These orders were sufficient, I well knew, to insure their immediate
disappearance, one and all, as soon as my back was turned.
I took from their sconces two flambeaux, and giving one to Fortunato bowed him through
several suites of rooms to the archway that led into the vaults. I passed down a long and winding
staircase, requesting him to be cautious as he followed. We came at length to the foot of the descent,
and stood together on the damp ground of the catacombs of the Montresors.
The gait of my friend was unsteady, and the bells upon his cap jingled as he strode.
The pipe," said he.
"It is farther on," said I; "but observe the white webwork which gleams from these cavern
walls."

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 He turned towards me and looked into my eyes with two filmy orbs that distilled the rheum of
intoxication .
"The pipe," said he.
"It is farther on," said I; "but observe the white webwork which gleams from these cavern
walls."
He turned towards me and looked into my eyes with two filmy orbs that distilled the rheum of
intoxication .
"Nitre?" he asked, at length
"Nitre," I replied. "How long have you had that cough!"
"Ugh! ugh! ugh! -- ugh! ugh! ugh! -- ugh! ugh! ugh! -- ugh! ugh! ugh! -- ugh! ugh! ugh!
My poor friend found it impossible to reply for many minutes.
"It is nothing," he said, at last.
"Come," I said, with decision, we will go back; your health is precious. You are rich, respected,
admired, beloved; you are happy as once I was. You are a man to be missed. For me it is no matter.
We will go back; you will be ill and I cannot be responsible. Besides, there is Luchesi" --
"Enough," he said; "the cough is a mere nothing; it will not kill me. I shall not die of a cough."
"True -- true," I replied; "and, indeed, I had no intention of alarming you unnecessarily -- but
you should use all proper caution. A draught of this Medoc will defend us from the damps."
Here I knocked off the neck of a bottle which I drew from a long row of its fellows that lay upon the
mould.
"Drink," I said, presenting him the wine.
He raised it to his lips with a leer. He paused and nodded to me familiarly, while his bells
jingled.
"I drink," he said, "to the buried that repose around us."
"And I to your long life."
He again took my arm and we proceeded.
"These vaults," he said, are extensive."
"The Montresors," I replied, "were a great numerous family."
"I forget your arms."
"A huge human foot d'or, in a field azure; the foot crushes a serpent rampant whose fangs are
imbedded in the heel."
"And the motto?"
"Nemo me impune lacessit."
"Good!" he said.
The wine sparkled in his eyes and the bells jingled. My own fancy grew warm with the Medoc.
We had passed through walls of piled bones, with casks and puncheons intermingling, into the inmost
recesses of the catacombs. I paused again, and this time I made bold to seize Fortunato by an arm
above the elbow.
"The nitre!" I said: see it increases. It hangs like moss upon the vaults. We are below the river's
bed. The drops of moisture trickle among the bones. Come, we will go back ere it is too late. Your
cough" --
"It is nothing" he said; "let us go on. But first, another draught of the Medoc."
I broke and reached him a flagon of De Grave. He emptied it at a breath. His eyes flashed with
a fierce light. He laughed and threw the bottle upwards with a gesticulation I did not understand.
I looked at him in surprise. He repeated the movement -- a grotesque one.
"You do not comprehend?" he said.
"Not I," I replied.
"Then you are not of the brotherhood."
"How?"
"You are not of the masons."

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 "Yes, yes," I said "yes! yes."
"You? Impossible! A mason?"
"A mason," I replied.
"A sign," he said.
"It is this," I answered, producing a trowel from beneath the folds of my roquelaire.
"You jest," he exclaimed, recoiling a few paces. "But let us proceed to the Amontillado."
"Be it so," I said, replacing the tool beneath the cloak, and again offering him my arm. He
leaned upon it heavily. We continued our route in search of the Amontillado. We passed through a
range of low arches, descended, passed on, and descending again, arrived at a deep crypt, in which
the foulness of the air caused our flambeaux rather to glow than flame.
At the most remote end of the crypt there appeared another less spacious. Its walls had been
lined with human remains piled to the vault overhead , in the fashion of the great catacombs of Paris.
Three sides of this interior crypt were still ornamented in this manner. From the fourth the bones had
been thrown down, and lay promiscuously upon the earth, forming at one point a mound of some
size. Within the wall thus exposed by the displacing of the bones, we perceived a still interior recess,
in depth about four feet, in width three, in height six or seven. It seemed to have been constructed
for no especial use in itself, but formed merely the interval between two of the colossal supports of
the roof of the catacombs, and was backed by one of their circumscribing walls of solid granite.
It was in vain that Fortunato, uplifting his dull torch, endeavoured to pry into the depths of
the recess. Its termination the feeble light did not enable us to see.
"Proceed," I said; "herein is the Amontillado. As for Luchesi" --
"He is an ignoramus," interrupted my friend, as he stepped unsteadily forward, while I followed
immediately at his heels. In an instant he had reached the extremity of the niche, and finding his
progress arrested by the rock, stood stupidly bewildered . A moment more and I had fettered him to
the granite. In its surface were two iron staples, distant from each other about two feet, horizontally.
From one of these depended a short chain. from the other a padlock. Throwing the links about his
waist, it was but the work of a few seconds to secure it. He was too much astounded to resist .
Withdrawing the key I stepped back from the recess.
"Pass your hand," I said, "over the wall; you cannot help feeling the nitre. Indeed it is VERY
damp. Once more let me IMPLORE you to return. No? Then I must positively leave you. But I must
first render you all the little attentions in my power."
"The Amontillado!" ejaculated my friend, not yet recovered from his astonishment.
"True," I replied; "the Amontillado."
As I said these words I busied myself among the pile of bones of which I have before spoken.
Throwing them aside, I soon uncovered a quantity of building stone and mortar. With these materials
and with the aid of my trowel, I began vigorously to wall up the entrance of the niche.
I had scarcely laid the first tier of my masonry when I discovered that the intoxication of
Fortunato had in a great measure worn off. The earliest indication I had of this was a low moaning
cry from the depth of the recess. It was NOT the cry of a drunken man. There was then a long and
obstinate silence. I laid the second tier, and the third, and the fourth; and then I heard the furious
vibrations of the chain. The noise lasted for several minutes, during which, that I might hearken to it
with the more satisfaction, I ceased my labours and sat down upon the bones. When at last the
clanking subsided , I resumed the trowel, and finished without interruption the fifth, the sixth, and
the seventh tier. The wall was now nearly upon a level with my breast. I again paused, and holding
the flambeaux over the mason-work, threw a few feeble rays upon the figure within.
A succession of loud and shrill screams, bursting suddenly from the throat of the chained
form, seemed to thrust me violently back. For a brief moment I hesitated -- I trembled. Unsheathing
my rapier, I began to grope with it about the recess; but the thought of an instant reassured me. I
placed my hand upon the solid fabric of the catacombs , and felt satisfied. I reapproached the wall. I
replied to the yells of him who clamoured. I reechoed -- I aided -- I surpassed them in volume and in
strength. I did this, and the clamourer grew still.

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 It was now midnight, and my task was drawing to a close. I had completed the eighth, the
ninth, and the tenth tier. I had finished a portion of the last and the eleventh; there remained but a
single stone to be fitted and plastered in. I struggled with its weight; I placed it partially in its
destined position. But now there came from out the niche a low laugh that erected the hairs upon
my head. It was succeeded by a sad voice, which I had difficulty in recognising as that of the noble
Fortunato. The voice said --
"Ha! ha! ha! -- he! he! -- a very good joke indeed -- an excellent jest. We will have many a
rich laugh about it at the palazzo -- he! he! he! -- over our wine -- he! he! he!"

"The Amontillado!" I said.

"He! he! he! -- he! he! he! -- yes, the Amontillado . But is it not getting late? Will not they be
awaiting us at the palazzo, the Lady Fortunato and the rest? Let us be gone."

"Yes," I said "let us be gone."

"FOR THE LOVE OF GOD, MONTRESOR!"

"Yes," I said, "for the love of God!"

But to these words I hearkened in vain for a reply. I grew impatient. I called aloud --

"Fortunato!"

No answer. I called again --

"Fortunato!"

No answer still. I thrust a torch through the remaining aperture and let it fall within. There
came forth in return only a jingling of the bells. My heart grew sick -- on account of the dampness
of the catacombs. I hastened to make an end of my labour. I forced the last stone into its position; I
plastered it up. Against the new masonry I reerected the old rampart of bones. For the half of a
century no mortal has disturbed them.

In pace requiescat!

Comprehension questions:

1. Who is the villain in the story? What is your general impression of him? Explain.
______________________________________________________________________________________
______________________________________________________________________________________

2. Where did the crime took place? Describe it in vivid details.

______________________________________________________________________________________
______________________________________________________________________________________

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3. At what part of the story did you feel the most intense of emotions?
What did it make you feel? Explain.
______________________________________________________________________________________
______________________________________________________________________________________

4. What is the message the story is trying to explore?

____________________________________________________________________________________
____________________________________________________________________________________

What is it?
Literary elements are the things that all literature have in common. They are
important constituents or components of a literary work. In a way they are the
building blocks of all works of fiction and are necessary so that we can read, analyze and
critique a fiction. These are the basic literary elements:

a. Characters- is a person, animal, being, creature, or thing in a story

i. The protagonist of a work is its main character.
ii. Antagonists, on the other hand, are the characters that oppose the
protagonist in some way.

b. Setting- defined simply as the time and location in which the story takes place

c. Plot- defined as the sequence of events that occurs from the first line to the last
1. Beginning/Exposition: This is the very beginning of a story. During the
exposition, authors usually introduce the major characters and settings to the
reader.
2. Conflict: Just like in real life, the conflict of a story is the problem that the
main characters have to tackle. There are two types of conflict that you'll see
in a plot. The major conflict is the overarching problem that characters face.
Minor conflicts, on the other hands, are the smaller obstacles characters have
to overcome to resolve the major conflict.
3. Rising Action: Rising action is literally everything that happens in a story
that leads up to the climax of the plot. Usually this involves facing and
conquering minor conflicts, which is what keeps the plot moving forward.
More importantly, writers use rising action to build tension that comes to a
head during the plot's climax.
4. Climax: The climax of the plot is the part of the story where the characters
finally have to face and solve the major conflict. This is the "peak" of the plot
where all the tension of the rising action finally comes to a head. You can
usually identify the climax by figuring out which part of the story is the
moment where the hero will either succeed or totally fail.
5. Falling Action: Falling action is everything that happens after the book's
climax but before the resolution. This is where writers tie up any loose ends
and start bringing the book's action to a close.
6. Resolution/Denouement: This is the conclusion of a story. But just because
it's called a "resolution" doesn't mean every single issue is resolved happily—
or even satisfactorily. For example, the resolution in Romeo and Juliet involves
(spoiler alert!) the death of both main characters. This might not be the kind
of ending you want, but it is an ending, which is why it's called the resolution.

d. Theme- described as the main idea of a work...but more accurately, themes are
any ideas that appear repeatedly throughout a text.

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 e. Point of View- is the perspective from which the story is told
1. First person: This is told by one of the characters of the story from their
perspective. You can easily identify first-person points of view by looking for
first-person pronouns, like "I," "you," and "my."
2. Second person: second-person point of view happens when the audience is
made a character in the story. In this instance, the narrator uses second
person pronouns, like "you" and "your." If you ever get confused, just
remember that "Choose Your Own Adventure" books use second person.
3. Third person limited: this is when the narrator is removed from the story
and tells it from an outside perspective. To do this, the narrator uses
pronouns like "he," "she," and "they" to refer to the characters in the story. In
a third person limited point of view, this narrator focuses on the story as it
surrounds one character. It's almost like there's a camera crew following the
protagonist that reports on everything that happens to them.
4. Third person omniscient: in this point of view, the narrator still uses third-
person pronouns...but instead of being limited to one character, the narrator
can tell readers what's happening with all characters at all times. It's almost
like the narrator is God: they can see all, hear all, and explain all.
5. Mood- the emotion or feeling that readers get from reading the words on a
page
6. Narrator- is the person who's telling the story. The narrator helps make sense
of the plot for the reader.
7. Conflict-primary problem that the characters in a story face

A literary device is any specific aspect of literature, or a particular work, which we can
recognize, identify, interpret and/or analyze. Both literary elements and literary techniques
can rightly be called literary devices.

Alliteration: The repetition of consonant sounds within close proximity, usually in

consecutive words within the same sentence or line.

Anthropomorphism: Where animals or inanimate objects are portrayed in a story as people,

such as by walking, talking, or being given arms, legs and/or facial features. (This technique
is often incorrectly called personification.)

Example: The King and Queen of Hearts and their playing-card courtiers comprise only one
example of Carroll’s extensive use of anthropomorphism in Alice’s Adventures in Wonderland.

Blank verse: Non-rhyming poetry, usually written in iambic pentameter.

Much of Shakespeare’s dialogue is written in blank verse, though it does occasionally rhyme.

Creative license: Exaggeration or alteration of objective facts or reality for the purpose of
enhancing meaning in a fictional context.

Example: Dickens took some creative license with the historical events of the French Revolution
in order to clarify the ideological conflicts.

Dialogue: Where characters speak to one another; may often be used to substitute for
exposition.

Example: Since there is so little stage direction in Shakespeare, many of the characters’
thoughts and actions are revealed through dialogue.

Dramatic irony: Where the audience or reader is aware of something important, of which the
characters in the story are not aware.

Example: Macbeth responds with disbelief when the weird sisters call him Thane of Cawdor;
ironically, unbeknownst to him, he had been granted that title by king Duncan in the previous
scene.

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Exposition: Where an author interrupts a story in order to explain something, usually to
provide important background information.

Example: The first chapter consists mostly of exposition, running down the family’s history and
describing their living conditions.

Figurative language: Any use of language where the intended meaning differs from the actual
literal meaning of the words themselves. There are many techniques which can rightly be
called figurative language, including metaphor, simile, hyperbole, personification,
onomatopoeia, verbal irony, and oxymoron. (Related: figure of speech)

Example: The poet makes extensive use of figurative language, presenting the speaker’s
feelings as colors, sounds and flavors.

Foreshadowing: Where future events in a story, or perhaps the outcome, are suggested by
the author before they happen. Foreshadowing can take many forms and be accomplished in
many ways, with varying degrees of subtlety. However, if the outcome is deliberately and
explicitly revealed early in a story (such as by the use of a narrator or flashback structure),
such information does not constitute foreshadowing.

Example: Willy’s concern for his car foreshadows his eventual means of suicide.

Hyperbole: A description which exaggerates.

Example: The author uses hyperbole to describe Mr. Stevens, calling him “the greatest human
being ever to walk the earth.”

Imagery: Language which describes something in detail, using words to substitute for and
create sensory stimulation, including visual imagery and sound imagery. Also refers to
specific and recurring types of images, such as food imagery and nature imagery.

Irony (a.k.a. Situational irony): Where an event occurs which is unexpected, and which is in
absurd or mocking opposition to what is expected or appropria

Example: Jem and Scout are saved by Boo Radley, who had ironically been an object of fear
and suspicion to them at the beginning of the novel.

Metaphor: A direct relationship where one thing or idea substitutes for another.

Example: Shakespeare often uses light as a metaphor for Juliet; Romeo refers to her as the sun,
as “a rich jewel in an Ethiop’s ear,” and as a solitary dove among crows.

Onomatopoeia: Where sounds are spelled out as words; or, when words describing sounds
actually sound like the sounds they describe.

Example: Remarque uses onomatopoeia to suggest the dying soldier’s agony, his last gasp
described as a “gurgling rattle.”

Oxymoron: A contradiction in terms.

Example: Romeo describes love using several oxymorons, such as “cold fire,” “feather of lead”
and “sick health,” to suggest its contradictory nature.

Paradox: Where a situation is created which cannot possibly exist, because different elements
of it cancel each other out.

Example: In 1984, “doublethink” refers to the paradox where history is changed, and then
claimed to have never been changed.

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Parallelism: Use of similar or identical language, structures, events, or ideas in different
parts of a text.

Example: Hobbs’ final strikeout parallels the Whammer’s striking out against him at the
beginning of the novel.

Personification: Where inanimate objects or abstract concepts are seemingly endowed with
human self-awareness; where human thoughts, actions and perceptions are directly
attributed to inanimate objects or abstract ideas.

Example: Malamud personifies Hobbs’ bat, giving it a name, Wonderboy, referring to it using
personal pronouns, and stating that “he went hungry” during Hobbs’ batting slump.

Personification: Where an abstract concept, such as a particular human behavior or a force

of nature, is represented as a person.

The Greeks personified natural forces as gods; for example, the god Poseidon was the
personification of the sea and its power over man.

Repetition: Where a specific word, phrase, or structure is repeated several times, to

emphasize a particular idea.

The repetition of the words “What if…” at the beginning of each line reinforces the speaker’s
confusion and fear.

Simile: An indirect relationship where one thing or idea is described as being similar to
another. Similes usually contain the words “like” or “as,” but not always.

The simile in line 10 describes the lunar eclipse: “The moon appeared crimson, like a drop of
blood hanging in the sky.”

Example: The character’s gait is described in the simile: “She hunched and struggled her way
down the path, the way an old beggar woman might wander about.”

Symbolism: The use of specific objects or images to represent abstract ideas. This term is
commonly misused, describing any and all representational relationships, which in fact are
more often metaphorical than symbolic. A symbol must be something tangible or visible, while
the idea it symbolizes must be something abstract or universal.

Example: Golding uses symbols to represent the various aspects of human nature and
civilization as they are revealed in the novel. The conch symbolizes order and authority, while
its gradual deterioration and ultimate destruction metaphorically represent the boys’ collective
downfall.

Verbal irony: Where the meaning is intended to be the exact opposite of what the words
actually mean. (Sarcasm is a tone of voice that often accompanies verbal irony, but they are
not the same thing.)

Example: Orwell gives this torture and brainwashing facility the ironic title, “Ministry of Love.”

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Narrative modes: are the methods that writers use to tell their stories. In general terms,

narrative mode could encompass some basic storytelling elements (it’s these that some

writers would include as narrative modes and others would not)—narrative point of view,

narrative tense, and narrative voice.

a. Action: What the characters are doing.

Example: Susie sleeps during a shared self-defense class

b. Description: The five senses (sight, sound, smell, touch, taste).

Example: Her hair was coarse silk in his fingers…

c. Exposition: Information and context that isn’t directly available ‘in-scene’.

Example: She always wore her locks tightly pinned atop her head

d. Dialogue: The characters’ external speech.

Example: My god, woman, you test me!”

e. Monologue and Thought: The characters’ internal thoughts.

Example: Her hair alone had undone him. What hope did he have as her fingers

moved to the buttons of her chemise?

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 Let Us Practice

Comic Strip Script

Directions: Look at the comic and fill in the dialogue. Write your
answer in the bubble. Be as explicit as much as possible.

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 Let Us Practice More

Story in the Song

Directions: Choose a song from year 2000 to 2020. Write down

a portion of its lyrics and identify strong descriptive images.

_______________________
(Title of the song)

___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
__________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
__________________

Descriptive Images:

1.
2.
3.
4.
5.

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1. Literary Elements
Directions: Recall the story A Cask of Amontillado. Fill out the
sheet below.

A Cask of Amontillado
(Analysis Sheet)

Protagonist
Antagonist
Setting
Theme
Point-of-View of the Story
Plot
a. Beginning/Exposition

b. Conflict

c. Rising Action

d. Climax

e. Falling Action

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 f. Resolution

Let Us Remember

This particular lesson has taught you a lot on literary elements, techniques and
devices. Moreover, you were also able to identify the nook-and-cranny of each term. Before
you move ahead to exploring this subject even further, remind yourself of the following
statements down below.

• Literary elements are the things that all literature have in common. They are
important constituents or components of a literary work. In a way they are the
building blocks of all works of fiction and are necessary so that we can read, analyze
and critique a fiction.
• Literary device is any specific aspect of literature, or a particular work, which we can
recognize, identify, interpret and/or analyze. Both literary elements and literary
techniques can rightly be called literary devices.
• Literary techniques are specific, deliberate constructions of language which an
author uses to convey meaning. An author’s use of a literary technique usually occurs
with a single word or phrase, or a particular group of words or phrases, at one single
point in a text. Unlike literary elements, literary techniques are not necessarily present
in every text.
• Narrative modes are the methods that writers use to tell their stories. In general
terms, narrative mode could encompass some basic storytelling elements (it’s these
that some writers would include as narrative modes and others would not)—
narrative point of view, narrative tense, and narrative voice.

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 Let Us Assess

Directions: Now that we are nearing the culmination of this lesson, let us undertake
an assessment. Choose the letter of your answer.

1. Macbeth allows his wife to convince him to murder the king and take over the throne.
Although he knows it is wrong, Macbeth believes he is a great leader and gives into
his tragic flaw: ambition. He murders the king and takes over the throne.
a. Conflicting attitude c. Tragic Flaw
b. Tragic figure d. Conflicting Structure

2. The universal truth of love is often a highlight in literature. Love is an example of:
a. Mood b. Theme c. Motif d. Tragic Flaw

3. Girl in a horror film hides in a closet where the killer just went (the audience knows
the killer is there, but she does not).
a. Dramatic irony c. Situational Irony
b. Verbal irony d. Cosmic Irony

4. All animals are equal, but some are more equal than others’ is an example of:
a. Oxymoron b. Irony c. Parallelism c. Paradox

5. Exaggeration or alteration of objective facts or reality for the purpose of enhancing

meaning in a fictional context.
a. Dramatic irony c. Exposition
b. Anthropomorphism d. Creative License

6. Any specific aspect of literature, or a particular work, which we can recognize, identify,
interpret and/or analyze.
a. Literary Device c. Literary Element
b. Literary Techniques d. Creative License

7. Language which describes something in detail, using words to substitute for and
create sensory stimulation.
a. Irony c. Figurative Language
b. Imagery d. Paradox

8. What figurative language is used in this line: Watching the show was like watching
grass grow.
a. Symbolism b. Oxymoron c. Simile d. Repetition

9. He chortled heartily before deeply puffing on his Cuban cigar, briefly glancing at his
Rolex. This provides attributes to a rich man.
a. Context b. Conflict c. Characterization d. Antagonism

10. Oedipus' pride causes him to ignore prophecies and he unknowingly kills his father
and marries his mother. In the end he gouges out his own eyes in anguish. Oedipus
is an example of:
a. Conflicting attitude c. Tragic Flaw
b. Tragic figure d. Conflicting Structure

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 11. What example of narrative mode is this: My Uber driver looked like a deflating airbag
and sounded like talk radio on repeat.
a. Action c. Dialogue
b. Description d. Thought and monologue

12. Her hair alone had undone him. What hope did he have as her fingers moved to the
buttons of her chemise? This is an example of:
a. Action c. Dialogue
b. Description d. Thought and monologue

13. What narrative mode is highlighted in the conversation below:

"Now he is here," I exclaimed. "For Heaven's sake, hurry down! Do be quick; and
stay among the trees till he is fairly in."
"I must go, Cathy," said Heathcliff, seeking to extricate himself from his companion's
arms. "I won't stray five yards from your window…"
"For one hour," he pleaded earnestly.

a. Action c. Dialogue
b. Description d. Thought and monologue

14. The arc of the story and reveals information about the characters. It is something that
happens and can include dialogue, gestures, and other activities.
a. Action c. Thought and monologue
b. Description d. Exposition

15. What narrative mode is prevalent below:

Tommy kicked angrily at the rocks in front of him as he walked to the little store up the
road. The gravel road was quiet, with only the dust from his feet rising up from the
ground. The Texas spring was hotter and drier than normal, causing a slight drought.
Tommy wished he still had his bike, but he had broken the frame last fall when he and
his friends did some trick rides. “Man, that was some fun, though!” he remembered with
a smile.

a. Action c. Dialogue
b. Description d. Exposition

Let Us Enhance

If you were to write the following stories, what kind of ending would you give
them? Write a one-paragraph ending composed of six to seven sentences.

a. Beauty and the Beast

___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________

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 b. Rumpelstiltskin
___________________________________________________________________________________
___________________________________________________________________________________
_______________________.

A Letter to my Future Self

Directions: Write a 500-word letter to your future self. You can write an advice,
motivating anecdotes or reprimands. Take note, this is a personal letter. You are free
to be as informal as much as possible!

To my future Self,

___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
______________________________________________.

___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
______________________________________________.

___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
___________________________________________________________________________________
______________________________________________.

Sincerely,
Present Self

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 Let Us Reflect

Congratulations! You are finally done with this module. The lesson you just learned
will help you understand the structure of fiction. Later on, you will be reading a plethora of
different literary genre which will inevitably hone your writing prowess that defines what
course is all about.

Writing is an avenue of your imagination. It mirrors your thought processes and

unleashes the creative genius within you, bringing up a world not yet around and characters
which are as distinct and interesting as how you move to create every fabric of their being.
This lesson gives a foundation to a much more yearning experience in reading, writing and
critiquing literature.

Your takeaway is basic: identifying literary elements, techniques and devices. Yet, the
profundity of this lesson will pave a way to founding a breeding ground of wit, word, and
wisdom necessary in the trade of sowing words and letting it thrive on paper and minds.

Answer key to Activities

Pre-Test Answer Post-Test Answers

1. A 1. C
2. D 2. B
3. C 3. A
4. S 4. D
5. C 5. D
6. A 6. A
7. C 7. C
8. B 8. C
9. B 9. C
10. C 10. B
11. B 11. B
12. D 12. D
13. C 13. C
14. A 14. A
15. D 15. D

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