Irony is one of those literary devices that you feel before you know how to talk about it. Irony is the difference between what you expect and what happens. But what does that mean and can you learn how to identify irony? Let’s learn about irony today.Â
As writers, we are always working to make our stories the best they can be. One of the more advanced techniques that can help you do this is by giving an underlying meaning in a scene—otherwise known as subtext.Â
In a story, subtext can be implied by the surface action and dialogue.
When you think about the books and stories that you most enjoyed reading, chances are that story’s scenes were woven with something deeper than what appeared on the surface.
Today I’d like to teach you seven simple techniques for using subtext in your story, which I’ll also teach with some subtext examples.Â
Whether you’re writing a book or a blog post, it’s tempting to just dive into your writing project. However, you will likely save yourself time and create a better end product if you settle on a solid premise before you start writing.
If you’ve opened a novel and seen a quote on the opening pages then you’ve seen a literary epigraph. But what are they really? Why do authors use them? And how do you know if you need one for your own work in progress?
If you’ve ever been reading an intense scene or dramatic moment when a character comes in with some witty barb or action that makes you laugh? You’ve experienced comic relief in literature. What is comic relief and how does it work? Let’s take a look.
In The Hunger Games, berries play a prominent role. During the game, deadly berries eliminate at least one participant, and Katniss uses the berries to subvert the government’s purpose. But their presence goes beyond this. In fact, there are 56 references to berries of various kinds in the book.These references come at key moments in the plot.
What purpose do the berries serve to merit such a prominent place in the book? They are a motif.
“What’s a motif?” I hear you say. Let’s take a look.
