#spot the monty python reference I added

[laikaflash]

🌻

*cracks knuckles*

I'm just going to dump some of the notes I took while translating the Soul Edge light novels. These are all from the second volume, Wandering in the Dark Forest, which focuses on Siegfried. I'm copypasting them as is, with added context in parentheses. Most of them were little linguistic notes or something related to history or game canon. The translation is nowhere near done owing to real life getting in the way, but I've been meaning to get back to it. Odd non-canonical material my beloved...

AAGH. In nearly every game, his eyes were green. Even on the cover, they're green, FFS! (This is a peeve of mine. In this book, Siegfried's eyes are blue, which is something that I've seen a lot of fanfics get wrong before, but this had little excuse in my opinion. Also, adding to my ire, the same happened to Sophitia in this one. *FLAILS*)

Nakai might well have predicted the motif on Siegfried's armor in SCV. (Context: Norio Nakai is the author. This is the point where Siegfried notices an eagle motif on his father's armor after having killed him.)

SQUIRREL!

My earlier Up reference is funny now because the squirrel gets dead.

WTF NAKAI

Spoke too soon. (Context: Siegfried is hallucinating after realizing what he just did. The "SQUIRREL" note was a joke about a rustle in the trees; the rest is me reacting in real time.)

The furigana is "ユワー・メー・へルクレース" I am at a loss as what it's supposed to be. (Context: A priest character yells ���あ、神よ！, which the furigana above it reads Yuwā mē Herukurēsu. I rendered it as "Oh God!" because the intended reading still stumps me.)

The furigana here is: "ダンケシェーン。アウフビーダーぜン", which I'm unable to read without thinking of Ferris Bueller's Day Off. (Context: This is Mitsurugi saying what little German he knows to some fishermen somewhere along the North Sea before he heads off to take on Cervantes, who is implied to have been the one who massacred most of the people there. I can't say I expected a katakanization of Danke Schön to read like "danke shēn," which sounds remarkably close to what you'll hear in this song. Front rounded vowels, man...)

It might be early in history for those. (Context: Just being iffy about the presence of potatoes in the Holy Roman Empire in 1583. To the best of my knowledge, those were more of a last resort than a staple crop at that point.)

TOO SUBTLE (Slight spoiler ahead. Siegfried has an out-damned-spot moment after killing the aforementioned priest.)

I find this depiction a little funny since the games' Ostrheinsburg stages tend to be fairly grandiose. (Context: Sir Stefan is introduced as "plain and unadorned" for a knight, and the halls of Ostrheinsburg are described similarly. Interestingly, the same chapter introduces a weapons merchant named Dürer, but he seems to be a separate character from the mercenary Johan Dürer.)

I can't read this without thinking of Monty Python and the Quest for the Holy Grail. Send help. (The line in question: "Run away!", spoken by one of Siegfried's bandit dudes when a siege breaks out.)

Also, I just want to say that the illustration that accompanies Siegfried's whole inciting incident is pretty brutal. It's under the cut. Sorry for the shot-on-smartphone quality; it's all I got on short notice.

The scene plays out differently from what the beheading described in game canon. Here, Siegfried runs him through the back in defense of one of his fellow bandits. It serves to further complicate things when said bandit follows him in the hopes of snapping him out of searching for his father's imaginary killer. It goes... poorly, as you may well have gathered.

Fun fact: the illustrator is Masae Hashimoto, who also did the '98 Tekken manga.

I'm leaving the other volume about Seong Mi-na for another time because I feel like this has gotten long enough. Good night, all.

[thenewnio]

My version of The New Majorika!

See here: https://thenewnio.tumblr.com/post/187193062083/ojamajo-doremi-animals-ep-3-the-new-majorika

Majorika looked at herself in a mirror, sighing: She was no longer the same. "Was I right to let them do it?” She sighs again.

The New Majorika!

It was a Wednesday afternoon. In the shop, the girls were already starting to work, the news of a new veterinarian having been spread throughout the neighborhood. A crowd rushed inside the shop.

"Excuse me ! Do you have any kittens?"

"I'd like you to treat my dog, he's sick..."

"I’d like to complain about this parrot..."

In the incessant hubbub in the shop, it was difficult to manage so many people.

When the owner of the shop appeared for the first time that day, silence took over. Customers were visibly terrified because of Majorika's appearance.

The latter could not refrain from asking “What?”

Panic immediately broke out. Only Doremi and the others kept calm as they watched, stunned.

Aiko took matters into her own hands. “Hey! This lady’s the owner of our shop! She's not gonna hurt‘cha!”

But no one took heed as people ran out with their pets. 

In a few seconds, the shop was already empty, with only a few hairballs lying on the floor. Doremi still had a comb in her hand. Hazuki was practically paralyzed.

The girls turned to the witch, who looked down at her feet.

“Majorika, it's decided, you're gonna change your look!”

No sooner said than done, the girls prepared new clothes for their witch.

Hazuki, used to the frilly dresses her mother bought her, made such a dress. Aiko chose a rather sporty style; Momoko a very urban and casual outfit; Doremi just chose the same clothes as those she herself wore.

Of all the girls, Onpu had chosen the outfit that would best suit: An emerald green tunic and blue denim pants, which made Majorika seem more human than witch. This set was chosen by all the girls wholeheartedly.

Now it was necessary to change the witch’s hairstyle.

This time, Aiko had the best idea: Letting Majorika’s hair down, and adorning with a small frog-shaped barrette as a reminder of the witch’s frog form.

It no longer really looked like it did before.

Even Lala had to undergo these transformations; now, whenever she assumed cat form, she wore a collar with a bell and a ribbon at the end of her tail.

Momoko insisted on adding her personal touch: she removed Majorika's earrings to replace them with a small earring like the one she wore herself on her left ear. Thus, the old witch looked like a girl in her twenties.

Well, almost.

“And there you go!” Said Onpu-chan. “You no longer look like a witch and it suits you very well! I’m sure you’ll attract a lot of people.”

The young actress assumed an impish air. The girls exchanged an eloquent look and the witch felt uncomfortable in these new clothes.

In the girls’ free time that followed, Majorika always wore the same clothes.

“So, you still haven't changed?“

“Well, I didn’t dare... After all, you girls went through a lot of trouble...”

Momoko immediately bolted. "Wait, where is she..." started the witch.

"She'll come back, we trust her!" said the girls, smiling radiantly.

Aiko, with a leading nature, suggested that everyone get to work. And that’s what they did. As soon as they reopened the shop, the crowd returned, along with the ensuing hubbub.

"Who is that lady over there?"

“I think she's the owner...”

“Really? But she looked so gloomy before...”

The chatter about the owner did not end, and Majorika did not know how to react, especially with the fact that whenever people talked about her, she sneezed, which made all this unbearable. The words echoed in her head. Already very busy with the debts she owed to Dela, she couldn't take it anymore. What to do now?

“Enough already!” she finally shouted.

Everyone was silent, as this was the first time that Majorika had made such a crisis in the shop. The latter could not bear such humiliation and rushed headlong into the backroom.

Sitting in an armchair, legs curled up on the seat and her arms around the knees, the witch wept.

The girls wanted to go see her to find out what was wrong, but Onpu held them back by saying that she needed to be left alone.

After a few moments, Majorika got up, her face red, exhausted by so many tears.

She went to the mirror, and looked at herself. "Look at me..." she thought. "Is this the appropriate outfit for a witch? It looks nothing like me."

She consoled herself by criticizing her modest clothes. This lasted for the rest of the day.

That evening, the girls closed up shop and finally went to see their mistress. She turned, gave them a dark look and shut herself in her room.

Doremi rushed behind her to knock on the door with all her strength. “Listen Majorika, we didn't think you would be so uncomfortable in those clothes!“

“That has nothing to do with it! I was humiliated! These clothes just aren’t suitable for a witch!”

Onpu, with her usual confidence, and rushed towards the door to give Majorika reason. “Listen, in the human world, they say the habit doesn’t make the monk, so suitability to a witch doesn’t matter one bit. These people didn't make fun of you, they were actually surprised that you had changed so much in such a short time. They thought you were nice to see, so it was the pressure that turned you upside down, right?”

The witch’s eyes widened. Her back was glued to the door so as not to let anyone in. A smile appeared on her face.

“You're right, I behaved differently than usual. Beg pardon, girls...”

She opened the door to the girls waiting for her, eyes shining with tears. They all hugged at once. A moment later, however, Majorika broke away from the fray to give orders: “But what are you even doing? You haven't even cleaned up my shop! Come on! Get rid of all that dog hair! I want to raise enough money to repay Dela! Hurry!”

The girls howled with laughter. Momoko was writhing as the scene was comical.

"What? What?!” asked the witch, concerned with this outcome.

"Definitely, you will never change!” They all knew in their hearts.

...

This fanfic was taken from here: https://odoremi-animals.skyrock.com/

I hope all you French-speakers enjoy. And to English-speakers who know French, feel free to make your own translation!

[kaepop-trash]

Omg I finally found someone who writes about johnny and writes stories exactly how i imagine them to be with him. 😩😩🥺

Would you write something like him and you playing catch me or so and y/n gets like so excited when she is running away from him and so.....🙄

I'm glad he lives upto your idea of what Johnny could be. The least he can do while wrecking my one and only bias spot.

I'm sorry for making majorly outdated reference. These are getting increasingly elaborate for being miscellaneous moments with pre-establised characters and that is on me and nobody else. Am I maybe in love with this Johnny? Yes. Am I maybe in love with him period? We'll see.

I hope you like this.

_

Johnny realised that she woke up the moment the covers moved, stirring and turning to face him. He bit his cheek.

"What time is it?" She groaned as Johnny slid into bed.

"A little after one, I'm sorry I woke you up." He whispered as his head fell on the pillow.

She gave him a sleepy smile, eyes still closed. "How was the meeting?" She questioned.

"Great, I landed it." He shifted, wrapping his arms around her. "They'll give me the promotion."

She turned over, burying her face into his neck with a sigh "That's great, baby. I'm so proud of you." She hummed, praising him despite being half asleep.

He smiled, his heart fluttering at the words. He reached up to run his hand through her hair, careful not to loosen her ponytail.

"Thank you." The words fell short of expressing how much her words meant to him. "I love you." He added, his voice softer.

She hummed, kissing his jaw— the gesture sloppy from sleep. He didn't mind one bit.

"You too, Johnny." She whispered, her sleep slowly taking over.

He kissed her hair as her breathing evened out, "Good night." He whispered, the soft smile staying on his face till sleep took over him too.

_

Johnny walked into their bedroom a little past noon, frowning at her. She looked up above the rim of her glasses as he entered, still in bed in her pajamas.

"You're still in bed?" He raised a brow.

"I have left the bed." She raised her brow back, the expression never failing to make his stomach churn, "I'm just back in again." She looked back down at whatever papers she had in her hand.

"Why?" He questioned, walking into the room.

She sighed, "Some papers to proofread and flag. I felt like doing it in bed." She sighed the second time, turning a page over.

Johnny hummed, "I'm going down to the gym. What do you want to do about lunch?" He asked as he went over to the wardrobe to pick out clothes for his work out.

"There is some food in the fridge. I'll reheat it and we can have that. I don't want it to go bad." She sounded distracted but listened anyway while she read through her papers. A habit he always found admirable.

"Okay. I'll see you in a while." He managed to slip into his clothes without her notice, biting down his disappointment at that.

_

When Johnny came back, she was sitting at the kitchen counter with the papers still in her hand.

Johnny sighed, "Is it urgent?" He questioned, leaning over to make sense of what she was doing.

"No." Her eyes remained glued on the pages, "I just want to finish it so I have my Sunday free at least." She squinted at something on the page.

Johnny shook his head with a laugh, leaning over to give her a kiss on the temple.

She raised a finger to stop him before he reached, "I just took a shower, Johnny. You're sweaty." She didn't look up, so he couldn't even give her a pout.

"Cruel." He mumbled.

She cracked a smile, turning to look at him. "Filthy." She retorted with a snort, turning back just as he grinned.

"It's your favourite thing about me." He whispered, inching his hands further to land on her waist.

She bolted out of the high chair and turned to him with a glare. "I told you you're sweaty!" She whined.

Johnny grinned, "Weren't you the one who said that I'm irresistible after a workout?" He licked his bottom lick, "Getting sick of me already?" He joked, voice devious.

She snorted, backing away when he moved forward. "What do you mean 'weren't you the one'? Lots of people in your life telling you these things, Johnny Suh? Maybe you're the one getting sick of me." He smiled playfully.

"Come here and I'll show you."

No. Take a shower first." She pointed to their room. She walked around the couch in their living room, familiar with the space enough by now to navigate it without looking.

"You'll need one too after I'm done with you, you wretched girl." He moved around the couch with her, enjoying the sudden game they were playing far too much.

"My favourite title." She gloated, "I plan to live up to it today. Go shower and let me get back to work. You're an equity partner now, you can be your own boss." She pointed a finger at him, "I still have to listen to mine." She bit her smile.

Johnny put a hand on his hip, "Uncalled for." He gave her a playful glare, "My promotion has nothing to do with this. Other than that I still haven't had a chance to celebrate the only way I want to right now." He took a large step to the left of the couch, his long legs making the move significant. But she was more nimble, moving away quickly to the right with a giggle and remaining firmly opposite him with the couch in between.

"Why don't we really celebrate? I'll go buy that wine you really like and we can go eat at park avenue." She teased him.

"Or you can just come to bed with me. I need to make sure you're not bored of me already."

She stopped moving for a second, "I am never getting bored of you." She said earnestly.

"Never?" Johnny questioned, her words making his eyes glimmer. She shook her head at him. "Not even when I force you to wake up for a run in the morning?" He raised a playful brow.

She took a frustrated breath, "Yeah actually I take that back. You also made me walk from Chinatown to Chelsea." She crossed her arms in front of her chest. "You're a sadist." She frowned.

He inched closer and she escaped just in time, laughing as she ran towards their shared bedroom. He caught on easily this time, grabbing her by the waist and turning her around, pulling her into his chest.

She whined between her laughs, "Now I'm all dirty too."

He hummed, brushing his lips against her forehead. "I wouldn't have you any other way." He murmured against her skin.

She sighed, melting into his touch. "Pervert." She whispered. He smacked her ass lightly and she laughed breathlessly, lifting her head to brush her nose against his. "See what I mean?" She grinned, winching with a laugh when he did it a little harder this time.

"Bed." He groaned, "Or I'm just going to pin you to the wall." He warned.

She hummed, "I'm not adverse to that idea." She brushed her lips over his lightly then moved it across his cheek.

He wrapped his fingers on the back of her neck and bought her lips back to his, kissing her with eager licks. He guided her steps till her back hit the wall, pulling back only to untie his sweats.

"Don't be in a mood later when your legs are cramped." He warned, looping his fingers into her shorts and pulling them down after his.

"You're already planning on making me sore and I'm supposed to be okay with it?" She questioned, stepping out of her pants with her eyes on him.

"I offered the bed." He countered, tugging at his t-shirt from his back and yanking it off with a swift tug.

"As if that was going to make me any less sore with that inside me." She pointed at his dick. "You used to be so restrained." She clicked her tongue.

Johnny laughed, hands reaching up to undo the buttons of her pajamas shirt. "Don't speak about Monty like that." He tried to bite back a smile.

She dragged her eyes back to him, "Did you just call your penis, Monty?" Johnny nodded. She squeezed her eyes, sucking in a breath and bracing herself.

She opened them with reluctance, "Like, a python?" She questioned. Johnny gave her a proud grin, confirming her worst fear. "I'm breaking up with you." She groaned.

He smirked, "Harsh." He dragged the collar down of her shirt down and leaned down to kiss her clavicle. "I have to admit, I love watching you stumble around sometimes." He mumbled into her neck, "Absolutely wrecked because of me." He licked her neck, making her gasp. "I'll miss that if you leave."

"You know what I miss?" She moved her head to expose her neck to him further, "I miss the first few months we were dating. When you were always soft and gentle. Trying to be all in control of yourself." She deepened her voice to sound more masculine, laughing breathlessly at her own effort.

Johnny chuckled against her jaw, "Do you?"

"Yes." She didn't sound serious.

Johnny pulled away, eyes sparking when he saw the passing disappointment in hers. "So what about when you're demanding me to go harder? Or you're begging me to ruin you?" He raised a brow, quoting things she had very much said before.

She bit her lip, he smiled.

"So you're saying," He paused, watching his finger as he traced it up from her belly button to her lips, pulling the lower one out from between her teeth. "That I shouldn't fuck you into the wall?" He cocked his head, feigning innocence.

He let her take the moments she used to come up with her excuse. "You can't go back now, Johnny Suh. Now I'm hooked on it, the way you snap your hips into mine. You did this." She looked at him through a hooded gaze, eyes blown out.

It was his turn to bite his lips, coming closer till their skin touched.

"Very well," He sighed with mock defeat, looking up to give her a devious look, "You're my boss after all."

"Where's my equity?" She mumbled, making Johnny laugh with the deep throaty voice he got when he was impossibly aroused. He gave her an affectionate smile, one she returned with equal love.

"Jump." He ordered.

She wrapped her legs around him, being held up by his arms on her ass and her hold on his hips.

His eyes melted for a second, something making him think. He looked up at her, "Don't get sick of me." He told her.

She gave him a lost expression, the words having no purchase when she was naked and being held against a wall by him. "So clingy." She licked her lips.

"You did that."

She grinned, resting her head on the wall with a content sigh, "Not even when you make me walk across the Brooklyn bridge." She promised. Johnny kissed her forehead, both their smiles faltering when he entered her swiftly, soft grunts leaving them both.

As he slowly picked up pace, her hands tried to find a grip everywhere before coming back to his shoulders.

"God." She groaned, unfettered. "You drive me crazy, you know that?" Her words tied into his tongue as he wrapped her lips in a kiss. She clenched around him, making his breath stutter as he drew back just enough to keep his lips against hers. "Absolutely fucking insane." She repeated, eyes screwed shut. He closed the non-existent gap and bit down on her tongue, her whine making him twitch deep inside her. Her words felt ironic when he was sure he hadn't felt sanity since that summer they met.

He pulled back to put his forehead on hers, eyes searching her face.

"Everytime I think." He spoke through clenched teeth, pausing to groan as he pulled out. "That I can't love you anymore than I already do." He sighed, wrapping his arms around her thighs with more security, lifting her hips and sliding back into her. The angle made her cry out. "I find myself pleasantly surprised." He kissed her eyelid.

A particularly sharp thrust made them both gasp. Johnny watched her parted lips and furrowed face, "What do I do?" He pulled out and slammed back in, making her moan. "What do with all this love in me for you?" Johnny shuddered, realising with a start that he came without realising.

He increased his pace, reaching down to massage her clit to bring her to her own high. She dropped her head onto his shoulders with a moan, a string of curses leaving her open mouth.

Before he could let her back down, she pulled him in; kissing every inch of his face till he was giggling.

"I love you." She mumbled against his cheekbone, "So much." She kissed his nose, "Sometimes I think I'll burst with it." She kissed his temple. "You tell me what I should do about that." She kissed him.

Johnny laughed against her lips, the words making joy bubble to his throat. There was something he could think of, it was just a matter of when he would ask.

_

Send me an ask about a character from one of my fics in a scenario and I'll write a drabble.

Character from: Unintended Consequences

[tropicalsuki]

Do You Copy? - Steve Harrington x fem!reader

Summary: Y/n, Steve’s girlfriend of over a year, is gone all of summer for a camp counselor job in the middle of nowhere, meaning the only way to stay in contact is through letters. Dustin and the party are sick of seeing Steve mope around, so they decide to set up a surprise date between Y/n and Steve. 

warnings: FLUFF, some angst, language, sexual references/making out, slight season 3 spoilers if you squint

word count: 2,566

A/N: this was supposed to go up Monday but my internet went down Sunday night and we just got it back today, so sorry for the delay! I hope you all love it and enjoy! Also, I’m up for writing a part two if enough people want it.

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

Dustin, Lucas, Max, and Will were all at Steve’s house, arguing over what movie to watch. It was their monthly movie night, and everyone was there. Well, almost everyone.

“Does anyone know when the hell Mike and El are gonna be here?” Dustin asked, annoyed with their constant flaking. 

“How are we supposed to know? They show up whenever they’re done kissing. It’s bullshit,” Lucas answered.

“Woah, language!” Steve acted offended as he walked into the room with two large bowls of popcorn. Max quickly grabbed one and sank into the couch, shoveling the snack into her mouth. “You better share!” Lucas yanked the bowl from her and the two began bickering like they usually did.

Everyone stopped talking when the doorbell rang.

 “Is it them?” Will asked as Steve went and opened the door. He came back in the room a moment later with a letter in hand. “No, not them. Just the mailman,” Steve said as he opened the letter with a slight smile. 

“Is that another letter?” Lucas asked. Max sat up, interested, “from who? Y/n?”

Steve didn’t answer their questions as he read the letter, a stupid grin on his face. 

“Ooh, let me read it!” Dustin went to grab it but Steve quickly yanked his arm away, “no, absolutely not! This is a private letter for my eyes only.”

“Aw come on! Let me see!” Dustin complained. As Steve and Dustin were arguing, Max came up behind Steve and grabbed the letter, running to the other side of the room to read it. Steve ran after her, but Lucas, Will, and Dustin tackled him as Max began reading aloud.

“’It’s only been a month since I left, but it feels like forever. I’m counting down the days until I come back to Hawkins. I miss the sound of your voice and the smell of your cologne and the way you kiss me and how you-’ ohmygod, you two are disgusting!” Max stopped reading, her face going red. 

“What? What does it say?” Lucas demanded.

“Read it for yourself! I’m not saying that out loud,” Max shook her head. 

“Will you all stop?! That’s a private letter!” Steve yelled.

Lucas and Will ran over to Max, peering over her shoulder to read the rest of the note. Dustin didn’t budge from his spot on top of Steve. As the two boys scanned the page, they went wide eyed. “That is... graphic,” Lucas finally said, trying not to laugh. 

“You two must really love each other,” Will spoke, making Steve sigh. “We do. And that’s why the letter is so important. So can you please give it back?” he asked, defeated. Dustin got off of him and Max handed over the letter. 

“Why don’t you just call her? I don’t see the problem,” Lucas said. 

“Because they don’t have phones in the middle of the woods, dipshit,” Max snipped. 

“Jesus, I forgot. No need to be so rude,” Lucas huffed as Steve got up, the doorbell ringing once more. Will ran towards the front entrance. 

“Mike and El are here!” Will called, walking back into the room a moment later with the the two teens in tow. 

“About time” “Great! We can finally start the movie now!” Max and Dustin said at once. Lucas went over to the tv, shoving the VHS into the slot. 

“What movie?” El asked, picking up the bowl of popcorn that Max left on the table. 

“Monty Python and the Holy Grail; only one of the best movies of all time,” Will stated excitedly. “Ooh, good choice,” Mike flopped down on the couch, pulling El down beside him. The others got comfy and happily chatted away as the movie began. Max shushed loudly when the opening credits were over and everyone quieted down. 

Throughout the movie, as everyone was laughing and making comments, Steve stayed quiet. Dustin took notice and waited for his chance to talk to the others. When Steve left to go to the bathroom, Dustin ran over to the tv and paused the movie.

“Dude! Why’d you stop it? This is the best part!” Mike complained. Lucas and Max chimed in with agreement.

“The movie can wait. But right now we need a plan to help Steve. He looks miserable,” Dustin answered. 

“Maybe he does not like Monty Python,” El suggested. Will sighed, “No, Dustin’s right. He’s been acting like this all summer.” 

“Why? Because of Y/n? She’s coming back in, like, three weeks,” Mike shrugged.

Max rolled her eyes, “please, Michael, if El was gone for half that long, you’d be complaining everyday.”

Mike didn’t respond, knowing she was right. 

Dustin nodded decidedly, “alright then. What’s the plan?”

-

Steve told the group he was going to the bathroom, quickly leaving and heading up to his room. He wanted to have a fun evening, he really did, but the letter stuck in his head and he couldn’t think of anything else. 

Walking over to his desk, Steve opened a drawer and set the new letter over a pile of identical ones. You and Steve sent letters back and forth at least once a week, but it still wasn’t enough. All he asked for was to hear your voice, but not even that wasn’t possible. Two months away as a camp counselor in the middle of fucking nowhere. Steve thought he would be fine without you for that long. 

He was wrong. 

Steve snapped out of his thoughts and closed the drawer, taking a deep breath before heading back downstairs. As he reentered the living room, the kids immediately stopped talking, all turning to look at him. 

“What did I miss? Did something happen?” Steve asked, looking between the six of them. 

“Nope. Nothing at all,” Lucas said casually.

“We were just waiting for you to come back. So we can keep watching,” Max added. Dustin quickly got up and started the movie again. 

Steve was too mentally exhausted to care what they were talking about, so he sat back down without question. 

-

A week passed before you got another letter in the mail. But it wasn’t from Steve. This time, it was from Dustin Henderson, claiming that Steve was in the hospital and you needed to come home immediately. 

As soon as you read the letter, you ran to your boss with tears in your eyes, begging to be sent home early. Your boss knew there was no hope in arguing, so he complied, and you sent off a letter to Dustin saying you were on your way back to Hawkins as soon as possible.

“Y/n’s coming back!” Dustin announced, waving the letter in his hand as he walked into Mike’s basement. 

“I still don’t think it was a good idea to lie to her about Steve,” Max replied. 

“She’s probably gonna have a heart attack before she gets here,” Lucas agreed. 

“Listen, I know it was messed up, but we literally haven’t seen Steve leave his house in over a week. It was necessary,” Dustin defended himself, but the others didn’t seem convinced. Dustin continued, “Y/n will be at the airport tomorrow at noon. We need to meet her there before she goes looking for Steve.”

“That’s nice and all, but how are we going to get there? None of us can drive,” Max pointed out. The others looked at each other knowingly, already having two people in mind.

-

“You told her Steve was in the hospital?!” Nancy exclaimed, looking at the six kids in front of her like they were insane before turning to her boyfriend, “Jonathan, did you know about this?”

Jonathan shook his head, “I did not. Because if I did, I would of told them it was a stupid and cruel idea.”

“That’s what I said!” Will huffed.

“Look, I fucked up. I get it. But it’s already done, so can we move forward please?” Dustin said, frustrated. 

“Yeah, whatever. It’s 11:30 so we need to go,” Nancy and Jonathan got up, leading the younger teens outside and to the car. Nancy got in the drivers seat and took them all to the airport.

When the group finally saw you coming off the flight, you were a mess. Your eyes were red from crying and your clothes and hair were all over the place. You spotted the eight of them and ran over, dropping your bags to pull Nancy into a hug, “oh god, it’s so good to see you.”

Nancy smiled, hugging you back, “I know, I missed you. We all did.”

You pulled away, looking at everyone carefully. “Is... is he okay?” you asked quietly, scared of what the answer may be. 

They all glanced at one another, silently arguing over who was going to tell you that Steve was perfectly fine. You took their silence as the exact opposite, and suddenly began crying. Jonathan pulled you into a comforting hug as Mike elbowed Dustin hard, forcing him to speak.

“No! No, don’t cry. Steve’s ok. He’s perfectly fine, and not in the hospital. He never was... I, uh, lied. to get you to come home early,” Dustin explained quickly. 

You moved away from Jonathan, your sadness and worry turning to confusion then anger, “what?”

“Yeah, uh, sorry about that,” Dustin gave you the sweetest smile he could manage. 

“You lied about my boyfriend being in the hospital?! I left my job and paid for a last minute plane ticket - and for what? What was this all for for?!” you said angrily, trying your best to keep your voice from rising. 

“Steve has been miserable all summer. But it’s gotten worse the past few weeks. We wanted him to feel better, and the only way to do that was to bring you home,” Will stepped in to explain. You sighed, having a hard time to get mad at Will; he always meant well no matter how messed up the idea. 

“Where is he? Does he know I’m here?” you questioned, wanting to see him as soon as possible. 

“No! No, he doesn’t. He can’t. We have this whole plan and we’re gonna surprise him so you can’t see him until tonight,” Lucas said quickly. 

You didn’t want to wait that long, but you doubted the kids would let you anywhere near Steve before their plan was complete. So you looked to Nancy instead, “this has all been very emotionally draining. And I need a drink.”

Nancy smiled knowingly, “I got you covered. Let’s go back to my house.” 

You nodded heavily and turned back to the kids, “you can tell me your ridiculous plan on the way there... and this doesn’t mean I’m not still beyond pissed at you all.”

The six of them nodded quickly, not wanting to push you. You followed Nancy outside, Jonathan grabbing your bags for you and hurrying after the group.

-

Dustin, El, and Mike banged on Steve’s door. He didn’t answer the first time, so they persisted. Finally the door was yanked open and Steve answered with groan, “what?!”

“We have a surprise for you,” Dustin grinned. 

“Does it involve going out?” Steve asked. Dustin nodded. “Then I’m not interested,” Steve decided. 

“Just listen to us! It’s about Y/n,” Mike said quickly.

Dustin began explaining before Steve could say anything, “we’ve been trying to find away to get into contact with Y/n, and we finally figured it out. You know my ingenious invention, Cerebral? Well, we sent a letter to Y/n and there’s a way you’ll be able to talk to each other!” 

Steve watched him, a blank expression on his face, “nice idea, but that’s not possible. If phones don’t work there, how is your stupid little radio going to?”

“It’s different. Landlines and radios work on different frequencies, and interact in different ways. There’s no phones at Y/n’s camp, but there’s radios. So it’ll work. We’ve tested it,” Dustin insisted, trying his best to be convincing. 

“It’s true,” El nodded. Mike smiled at Steve in support. 

Steve was desperate, and willing to try anything, “fine. When?”

“In an hour. So go take a shower - you smell awful,” Mike said. 

-

An hour later, Steve was hiking up to the highest point in Hawkins, while you hid a bit further down on the other side of the hill with Lucas and Max. Dustin, Mike, El, and Will lead Steve to where Cerebral was set up, talking to him about how you were waiting on the other end. 

“This better work or I’m going to beat you with your own equipment,” Steve said to Dustin, no hint of sarcasm in his voice. 

“It’ll work. I promise,” Dustin assured, sitting down by the main radio. Dustin pretended to work on getting a proper connection, but it seemed to be failing, and Steve was growing impatient. 

“I swear to god, Henderson, you took me all the way up here and got my hopes up and the damn radio wont even work,” he said angrily. 

Dustin didn’t reply, turning a few more knobs as you sneaked up the hill and stood behind Steve.

“Steve?”

When he heard your voice, Steve quickly moved closer to the radio, surprised that it was actually working and how clear your voice sounded, “Y/n? Y/n, is that you?”

“Steve,” you said again, a bit louder, and he froze, realizing the voice wasn’t coming from the radio. Turning around, his eyes landed on you and a grin spread across his face. 

“Hi,” you grinned back and Steve ran over, scooping you up in a tight hug and spinning you around, both of you laughing from happiness. 

He put you down and pulled you into a deep kiss as you wrapped your arms around his neck. The kids watched on, proud of their work. 

“You came home,” Steve stated, keeping you close. 

“The kids told me you were in the hospital. I came home as soon as I could. They were lying, obviously,” you explained. Steve was too happy to have you back to be mad about that right now, so instead he just pulled you closer to him.

“I missed you so much,” you breathed, running your hands down his chest and kissing him. Steve kissed you back with an almost desperation, and the six kids realized things were about to get heated. 

“Should, we uh...,” Lucas trailed, pointing down to the bottom of the hill. “Yep. Mmhm,” the others nodded and the group quickly ran off, leaving you and Steve on your own. 

You pulled Steve down so the two of you were laying on the grass, never breaking the kiss in the process. He moved you on top of him, running his hands through your hair. You pulled away slightly to catch your breath, “I love you so much.”

“I love you too. It hurts how much I love you,” Steve answered, tucking a strand of hair behind your ear. 

“Did you get my last letter?” you asked as you ran a hand across his cheek. 

“I sure did,” Steve smiled slightly.

“I meant every word. And those things I promised I’d do to you when I got back...,” you started playfully, but was cut off when Steve rolled you over so he was hovering over you.

“I know you’d never break a promise. So just kiss me, idiot,” Steve said teasingly. You grinned and pulled him down to meet your lips once more. 

-

End.

[arichhipster]

Extra! Extra! Life As a Movie Extra in New Mexico

(LIFE OF A MOVIE EXTRA...... Er, I suggest.... BACKGROUND ARTIST)

As I left the house, I glanced on the outdoor thermometer. It examine five under. Thankfully the car started out. Once on the street, as I approached my destination, in the nonetheless-morning darkness, I became off the primary street and observed the road of purple tail lighting up the hill's dirt music in the direction of the properly-lit tents above. Through the frozen tundra, I walk from the auto to the primary tent, greeted through warm smiles and friendly exchanges as I checked in, thankful that the changing room turned into amply heated https://new-solarmovie.com/countries After six previous workdays, the changeover from civilian to duration western garments turned into old hat now; long johns first, fast adding blouse, pants, each with severa buttons, suspenders, boots, jacket, work gloves and hat, all of the even as speaking to my fellow comrades. Next, stand in line to get grubby, as hair and makeup girls dirty you up. I look inside the mirror, thinking who that desperado is that's staring returned at me.

Finished, I throw my civilian jacket over cloth wardrobe, and walk returned outdoor into the frigid air, trying no longer to slip on snow, ice and cables as I slowly assignment towards the eating tent for some short breakfast and important hot coffee. People are often subdued internal, something to do with the numbing bloodless.

A closely jacketed woman with a headset steps into the tent and yells to us "The van is right here!" Begrudgingly we step returned out into the bloodless, slide into the vehicles and tour closer to the western town this is just beginning to emerge in the dawning mild. Crawl out of the van. If the temperature rises above freezing, the snow we are hiking through turns into a muddy mess later. Somebody yells "I see Props" and we go and outfit ourselves with our weapons and holsters. More salutations from bundled team contributors as you walk towards the protecting facility hoping for one ultimate cup of coffee which of course isn't always brewed but. Too overdue besides, you're needed for the first shot of the day. It's time to play make-agree with. You locate solace questioning at least Russell Crowe and Christian Bale appearance cold as properly.

You glance round at your surroundings and say. "Hey, here I am, status inside the center of a Hollywood movie, ready to play a gunman in an Old West town." There's simplest one character I recognize who would be silly enough to position up with these situations for so little pay...I MUST BE A MOVIE EXTRA (or heritage artist as we within the commercial enterprise choose to be called). Forget approximately my close-up shot, I thought. Just area me inside the warm temperature of the solar!

And so starts another day as a movie greater on a movie manufacturing set. Usually the climate situations are not so intense as this particular New Mexico January day changed into at the set of "3:10 To Yuma", but while they're...Properly, that simply provides to the story.

Given those conditions, why could one want to be an Extra? Is it for the cash...Hardly ever, although for many it's far a paying activity which human beings are finding tougher to come by in recent times. Is it for the hazard to look your face on the silver display, if most effective for a 2d? There's the carrot on a stick enticement, the opportunity of having a speaking component, which right now catapults you to a higher pay scale, and a cooler pair of sunglasses. The rumor whisperers proclaim, "You know so-and-so large call actor began his career as an additional".

How about the opportunity for a departure from the normal habitual, gambling a man or woman that's quite one of a kind out of your ordinary self?

Other reasons might be the social benefit the prolonged circle of relatives bond offers that develops amongst fellow extras who have worked together on preceding movie productions; the capability to have a look at moviemaking firsthand; and the ego enhance you experience when you receive a pleasant nod or salutation from a chief movie star. And sure, there is additionally an inexpensive paycheck and complimentary food.

For me, it's a majority of these reasons, and maximum veritably for the tales.

In current years, Hollywood has arrived with a vengeance in New Mexico, a country with a moviemaking records so long as the enterprise itself. When I first moved right here in '94 several movie and TV productions have been ongoing. A woman pal of mine told me about a casting name. I stood in line in the resort lobby till a person in casting took my Polaroid and asked if I turned into to be had in two weeks. One surprise smartphone call later, I turned into attempting on my new western cloth cabinet for the TV mini-collection "Buffalo Girls". I've been in most cases available ever considering the fact that.

Movie hobby quick lapsed into a lull during the late 90s; but, new tax incentives for the film industry (and our a lot less expensive hard work force) created a resurgence in moviemaking in the past 5 years. Today, whilst the tediously lengthy casting call traces and Polaroid headshots have given manner to new methods like Internet bulletins, digital pictures and e-mailed resumes, lifestyles as a further has remained highly the identical. One moment hasn't modified; the manner you experience after a long twelve-hour workday, having worked due to the fact earlier than sunrise to sundown; you are cold and tired, standing in line within the dark ready to return your wardrobe so you can check out and go home...All at once exhausted and gratified.

If you are trying to pursue history greater work as a full-time profession, my advice would be high-quality to hold your day activity. A bendy paintings time table (unemployed being the exceptional) is a prerequisite for running as a further. The nature of the enterprise is to be geared up to paintings at a moment's observe which is near not possible if you paintings a often scheduled task.

It's no marvel Hollywood enjoys working with us New Mexicans, and plenty of production human beings will gladly country this reality. The majority of extras I've labored with are a very courteous, amiable, uncomplaining, cooperative, tolerant lot, some distance distinct we are informed from our "large town" cousins lower back in LA. Of course, even within this high-quality group of New Mexico extras there are constantly those exceptions, the demanding standouts: The Braggart, whose alleged credentials are without problems challenged; the Movie Star Wannabee Schmoozer who's determined for the large danger, willing to dangle and cajole all of us who they assume will assist circulate them up the stardom ladder; and of path, every big group has at the least one chronic complainer. Fortunately, those individuals get weeded out quite rapid.

I appreciate the eclectic, unbiased, iconoclastic kind individuals who often gravitate to this bendy innovative line of work: the creative, impartial people (artisans, rock band roadies, jack of all trades); the worldly iconoclasts (hippies, vacationers, philosophers); the tough-working, generous blue-collar souls who love the hazard to act out special roles inside the movies; the destiny movie makers; the unemployed; the curious; the ones looking for a loving, worrying circle of relatives; musicians between gigs; ex-veteran pensioners; those folks who come from sad houses and economic conditions looking for escapism and happiness; the real cowboys; those pursuing movie production careers; the coolest souls whose honesty and wellknown kindness has harm them in the cruel, actual global of commercial enterprise; and those individuals stepping out in their recurring exercises.

Learning the Hollywood lingo is a part of the process's attraction: terms which includes "back to at least one", "that turned into extremely good--- permit's do one greater", "martini shot", "checking the gate"' "this is a wrap", "silence on the set"' "checking sound", and "Action!" For a veteran history artist, this film jargon coats you in a mantle it really is fun to put on.

What is an ordinary day on the set? Days are lengthy. While on some productions you are working an awesome portion of the day on set, regularly you're waiting in some preserving room or tent, possibly hours in length, 9 hours my document, before you are referred to as for a scene. During these off digital camera moments, it is as much as you whether to make the most of the waiting state of affairs either thru social conversations or through quietly analyzing a ebook, gambling playing cards or chess, ingesting snacks, or, as what came about after nine hours of waiting on the "Beerfest" film set retaining location, breakdancing and lap dancing. Otherwise, you may pick to whine, pout and be commonly uninterested in the revel in. That man or woman can constantly move lower back to paintings on the thrilling vocation of financial institution clerk.

Regretfully, as an additional you are stored broadly speaking within the dark as to the storyline and the way your small contribution applies to the context of the movie. Very little is told to you approximately the scene or what sort of person you are gambling, so regularly as an extra you tend to create your very own person tale. You pay attention "Action!" yelled so that you begin to pantomime your imaginary speak with others as you sit down at a desk or stroll down a street. Suddenly the director yells, "Great...That turned into exceptional, everyone" and the scene is over. This method your cognitive instincts for the scene were spot on tremendous, or your presence wasn't even on digicam so it didn't depend what the heck you have been doing. I examined this concept out on "Into The West" by using acting Monty Python fashion backward funny walks at some point of my history crossings, and the scene turned into perfect; just as I idea, not on digital camera.

A given truth but is when you are seen on digital camera, and you're not doing what the director needs, to your know-how or in any other case; a director's tongue-lashing can arise, plenty to your humiliated chagrin.

On the rare occasion a director, AD, AAD (assistant, assistant director) or casting director actually enlightens us film extras as to the context of the scene we are approximately to movie and its relevance to the screenplay, it is significantly liked and facilitates us get prompted and obsessed on our position.

We're the background coloration, an imperative function in the scene's final outcome. We complete the scene's surroundings by bringing "the set" to lifestyles, offering the social environment from which the principle actors play off of, in place of forcing them to paintings in a vacuum.

Sometimes one's first-time more enjoy can be hard. One negative woman on the set for "Wild, Wild West" fainted difficult after succumbing to the mixed results of August heat and suffocating corset. Stoically, she attempted again the following day, only to be nearly trampled by horses at some stage in the chaos scene. Never noticed her again after that.

There's an artwork to getting on camera with out being too pushy or apparent. Get stuck mugging the digital camera, and, like what occurred to a pricey friend of ours, you are fired instant, which of direction now provides an possibility for a person else. The vintage standby, the casting sofa, or trailer, or tent, can nonetheless paintings, as a minimum temporarily. I have also discovered that one's possibilities are substantially improved in the event that they work on a comedy, for there are actually higher screen opportunities for extras on comedies than in dramas. Mostly, however, the best manner, which is totally out of your manipulate, is having "the right look" that a director wants. Before you understand it, you're positioned in a scene prepared to confront Pierce Brosnan or Liam Neeson. Suddenly, the director yells "and...Action!

Sometimes your digital camera time might encompass a few exciting computer graphics and make-up. If you've got been painstakingly, grotesquely rearranged via makeup artists to play a zombie, augmented with horrifying prosthetics, it is able to only be you that recognizes yourself whilst your horrifying face debuts at the screen.

I did a particular double-take at the "Unspeakable" movie jail set after I walked past Dennis Hopper's head sitting on a table, after which Dennis Hopper himself exceeded me via within the corridor.

You might not experience the dramatic scene you are taking part in, while status in front of a computer graphics "blue screen"; but, your jaw-losing aghast reaction may want to measure your appearing competencies since you're supposedly responding to a robot monster achieving towards you, no longer a scraggly droopy-pants group member.

On the "Beerfest" movie set, the emphasis changed into whatever however actual beer in our mugs. First, production attempted an ineffective vacuum system designed to suck near-beer out of our mugs, frequently with hilarious outcomes. Next process turned into to digitize the beer into our empty mugs. We because the Irish beer drinking group took moderate offense at these methods in view that first, in fact, we would have out drank the Germans, and 2d, we should have without problems drunk real beers in report competitive time!

And with set layout it is excellent not to look too closely, for in the course of the ones dramatic funeral scenes, the somber cinematic mood is probably broken if the audience knew who is without a doubt written on those movie styrofoam cemetery tombstones like Yo Mama, Three Stooges and Jethro Tull.

In some instances the story in the back of the film is greater pleasing than the film itself. The city of Madrid become selected via Disney to represent the all-American town ready with white-wood fences, flora, lace curtains, heat nearby diner, and Chili festival. However, there aren't any white wooden fences here in actual lifestyles; extra accurately associated with black wood enamel, gauged through some of the locals' abusive usage of crack. The city's decor is more raw and cool, than homespun, seeing that its origin as a coal mining metropolis and later, a hippie haven. The diner, now a tourist enchantment, turned into built in particular for the movie and any actual local would say, "We do not need no stinkin' Chile festival!"

There is the symmetry connection with Disney that is also charming. Flying over Madrid, an old coal mining city inside the overdue 20s, Walt Disney became so captivated by way of the metropolis's twinkling display of Christmas lighting, the scene inspired him to years later create the Disney World Parade of Lights. Disney, the company, had lower back to pay their respects to Madrid, in their personal warped corporate manner.

On some of films our old prison has been used for more than one units, occasionally at the same time as an antique jail which includes on the film "Unspeakable". Over twenty years in the past, the old jail have been witness to a macabre, deadly jail riot massacre and siege. Even nowadays blood stains are still visible from that horrible occasion and tales ran rampant at the set about team member's character reports with ghost sightings and other eerie sensations.

I'll regularly listen people ask "How do huge actors behave--- are the rumors true?" I recognize our tabloid-pushed inquisitive minds need to accept as true with the memories of prima donnas, spoiled brat temper tantrums and privileged treatments; however, in truth, the actors I've visible behave in a professional, conscientious manner on the set. They pay attention attentively to the director's recommendation and vice versa. Some actors can be very personable with the extras, other extra remote, staying in person or reviewing their lines. Some actors are very secure, taking the off digicam moment to journey their horses or trip their bikes between scenes. Sometimes you overhear the actor's occasional disgruntled tone which a few manufacturing member tried to speedy assuage. Heck, you pay attention those tones from us all the time. It become difficult however to restrain from giggling or yelling "Martin, come on!" while Martin continually arrived on the "Wild Hogs" Madrid set with his bodyguard entourage, pushed in a Mercedes golfcart for the arduous 3 blocks from his triple-decker luxurious bus whilst a beautiful assistant carried a mini-fan to hold him cool.

The movie and TV industry has been so prolific at some stage in the Santa Fe/Albuquerque/Las Vegas place, your day by day distinctions among fiction and reality start to blur. The second felt surreal while, after having watched "Swing Vote", I left the film theater simplest to pass the equal grandstand featured in the film on Rodeo Road simply ten minutes later. Blink, look again, and there may be "Astronaut Farmer's" united states of america fair. South of metropolis there may be one rural stretch wherein I assume to come upon the simultaneous convergence of "Wild Hogs" bikers, Billy Bob Thorton's rocketship, and a rough-searching Colorado Volunteers marching regiment.

Even a avenue crossing on downtown Albuquerque's Central Ave. Takes on a new dimension when you have to be cautious of large Transformer robots stepping on you!

Not discounting the great current successes of so many diverse film and TV cutting-edge project topics made on this country, New Mexico's center essence nevertheless embodies the traditional American Western. Once you are fully outfitted in western garb, and you are taking the moment to absolutely embody your environment, a dusty, windswept street within the middle of a western metropolis, a very special feeling envelops you. Your mind can also flashback to youth fantasies, gambling a cowboy or gunfighter, remembering studying testimonies of the Old West or seeing your first wild west TV display or film. On western sets the heritage artists virtually appear to be our pioneer ancestors, a length of records which was honestly only some generations ago.

Pierce Brosnan turned into fascinated by how much our motley institution clearly sported long hair and beards, wore cowboy hats, chewed tobacco, demonstrated know-how of horses and guns, and who nonetheless slept in tents.

While at the set, youngsters fast modify and revert to less complicated pleasures. Townsmen tip their hats to women in bonnets at the same time as the gunslingers exercise twirling their plastic weapons, hoping to be issued real guns for the shootout scene.

Western movies generally tend to have the most tough climate situations, either blistering hot within the summer, blow-dried dusty inside the spring, and brutally bloodless at some stage in the wintry weather months, which perversely is the favorite season for maximum productions.

The western set can also be the most hazardous. A properly-skilled choreographer and horse wrangler coordinator is obligatory for, if ill-prepared, tragedy may additionally strike. Such have been the instances on the primary day of shooting on "3:10 to Yuma" wherein a horse changed into mortally wounded and rider critically injured, or the primary day of filming the Sand Creek Massacre reenactment on "Into The West" wherein severa horse accidents took place. And, during the filming of "Wild, Wild West", there are careless acts along with the dearth of notification to some forgotten extras that they had to clean the western set earlier than production blew it up. Fortunately, no extras were blown up! And they worry approximately animal mistreatment.

With the latest proliferation of film activity, many new faces have arrived inside the business, while most of the players of just ten years in the past have left the region or long gone on to other endeavors. Sometimes you have to permit own family members go away the nest. Except for the few envious ones, most of the people of us extras are pleased whilst a person from our extended circle of relatives receives a speakme element.

It's a profession wherein one minute you are ready to retire, especially after a grueling fourteen hour day, however then you definitely get the itch to get returned into it, for some other shot at stardom, for some other interesting story, and primarily due to the fact you leave out your buddies.

[thecomicsnexus]

…And Deliver us from Evil

TEENAGE MUTANT NINJA TURTLES ADVENTURES #41 FEBRUARY 1993 BY RYAN BROWN, DOUG BRAMMER, CHRIS ALLAN, KEN MITCHRONEY, MARLENE BECKER AND BARRY GROSSMAN

SYNOPSIS (FROM COMIC VINE)

As Ninjara and Raph head back to the sewers, the foxy ninja sees a sign advertising a mastodon exhibit at the Museum of Natural History. The image reminds Raphael of a story, which he relates to his gal pal: April interviewed Dr. Selena Davis, curator of the Natural History Museum, regarding her controversial theory regarding her intent to create clones. Soon thereafter, a homeless man who had once been a great reporter investigates a stry about a monster, and discovers a mutant mammoth man! The beast roars at the fellow, who runs for his life. Moments later, the mutant collapses and dreams of how he had been frozen in ice thousands of years ago, only to be thawed by Shredder and turned into a monster - but befriended by four green turtle men. After an adventure with the TMNT, the mastodon dude had fallen into an icy river and was thought lost, but he had survived and remained hidden for months. Recovering from his flashback, the mammoth man then spots some life-sized dinosaur sculptures being hauled by a truck and sets off to follow them... "home."

As it turns out, Dr. Davis had managed to get a strand of hair from the mammoth man from his earlier adventure - and has used it to create her own clone of the creature! As she and her two henchmen prepare to bring the clone to life, they see a news report regarding the "riverfront monster", none other than the original mastodon mutant himself. Davis sends her cronies out to retrieve the mammoth man. The two men have no trouble in luring the beastie to Davis' secret headquarters at the museum.

At the same time, April and the Turtles were discussing the possibilities of their strange friend surviving the icy waters when the news report came in, and the ninjas head out to investigate. After a long search, all they manage to find is a clump of hair, which they take back to their lair so Don can analyze it. Mikey sees a TV ad for the dinosaur exhibit at the Metropolitan Museum and jokes that perhaps the mammoth dude has gone there to see the exhibit. Raph scoffs at him, but Donatello thinks Mikey is on to something, so the gang pile into their van and head off to the museum.

The Turtles break into the building and soon find their friend caged by Davis and her henchmen. The Turtles order the scientist to free their ally, but she orders her clone to attack and a battle ensues. Enraged, the original mastodon dude breaks the bars of his cage and clobbers his clone. Unfortunately the force of his attack causes the museum to buckle on its foundation and it begins to collapse. The TMNT and April make their escape in the nick of time.

Shortly, the original mammoth man digs out of the rubble, carrying Davis and her assistants. April finds a police officer, who doesn't know what to do - so O'Neil arranges for the mastodon dude to be shipped via boat to Arctic Island, where he will finally be truly at home.

REVIEW

I missed Ken Mitchroney! but he doing an issue means this episode is just a filler. Most likely a “lost” episode.

It’s at this point where continuity gets tighter and we start referencing stories from many other issues. In this case, a story originally presented in a special (good luck figuring that out, there is no editor note about it).

As for the story itself... doesn’t make much sense. But I dig the Monty Python references (this title does a lot of homages, in previous issues we had a Three Stooges reference as well).

If you were a fan of the early issues of this book, you should give this one a try.

I give the issue a score of 6.

[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/

[rodneyfgarrett]

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?

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