2. Where future events in a story, or perhaps the
outcome, are suggested by the author before they
happen.
3. A device that allows the writer to present events
that happened before the time of the current
narration.
4. The quality of a literary work that makes the
reader or audience uncertain or tense about the
outcome of the events.
From Harry Potter and the Sorcerer’s Stone:
“I knew it,” he murmured.
“There’s summat in here that shouldn’t be.”
“A werewolf?” Harry suggested.
“That wasn’t no werewolf an’ it
wasn’ no unicorn, neither,” said Hagrid
grimly. “Right, follow me, but careful,
now.”
They walked more slowly, ears
straining for the faintest sound. Suddenly,
in a clearing ahead, something moved.
5. A recurring important idea or image, which can be
expressed as a single word or a fragmentary
phrase.
7. Language which describes something in
detail, using words to substitute for and create
sensory stimulation.
From The Hobbit:
It had a perfectly round door like a
porthole, painted green, with a shiny
yellow brass knob in the exact middle. The
door opened on a tube-shaped hall like a
tunnel: a very comfortable tunnel without
smoke, with paneled walls, and floors tiled
and carpeted, provided with polished
chairs, and lots and lots of pegs for hats
and coats. . . . The best rooms were all on
the left-hand side (going in), for these were
the only ones to have windows, deep-set
round windows looking over his garden,
and meadows beyond, sloping down to the
river.
8. A direct comparison where one thing or idea
substitutes for another.
Types of metaphors:
Direct
Indirect/Implied
Extended
9. When an author assigns human characteristics or
emotions to inanimate objects or abstract
concepts.
10. An indirect comparison where one thing or idea is
described as being similar to another.
From Harry Potter and the Sorcerer’s
Stone:
. . . There was a face, the most terrible
face Harry had ever seen. It was chalk
white with glaring red eyes and slits for
nostrils, like a snake.
