importance of literary elements essay

Elements of Literature

WHAT DO WE MEAN BY THE PHRASE ‘ELEMENTS OF LITERATURE?

The phrase ‘elements of literature’ refers to the constituent parts of a work of literature in whatever form it takes: poetry, prose, or drama.

Why are they important?

Students must understand these common elements if they are to competently read or write a piece of literature.

Understanding the various elements is particularly useful when studying longer works. It enables students to examine specific aspects of the work in isolation before piecing these separate aspects back together to display an understanding of the work as a whole.

Having a firm grasp on how the different elements work can also be very useful when comparing and contrasting two or more texts. 

Not only does understanding the various elements of literature help us to answer literature analysis questions in exam situations, but it also helps us develop a deeper appreciation of literature in general.

what are the elements of literature ?

This article will examine the following elements: plot , setting, character, point-of-view, theme, and tone. Each of these broad elements has many possible subcategories, and there is some crossover between some elements – this isn’t Math , after all!

Hundreds of terms are associated with literature as a whole, and I recommend viewing this glossary for a complete breakdown of these.

WHAT IS THE DIFFERENCE BETWEEN AN ELEMENT OF LITERATURE AND A LITERARY DEVICE?

Elements of literature are present in every literary text. They are the essential ingredients required to create any piece of literature, including poems, plays, novels, short stories, feature articles, nonfiction books, etc.

 Literary devices , on the other hand, are tools and techniques that are used to create specific effects within a work. Think metaphor, simile, hyperbole, foreshadowing, etc. We examine literary devices in detail in other articles on this site.

 While the elements of literature will appear in every literary text, not every literary device will.

 Now, let’s look at each of these oh-so-crucial elements of literature.

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Plot refers to all related things that happen in the sequence of a story. The shape of the plot comes from the order of these events and consists of several distinct aspects that we’ll look at in turn.

The plot comprises a series of cause-and-effect events that lead the reader from the story’s beginning, through the middle, to the story’s ending (though sometimes the chronological order is played with for dramatic effect).

Exposition: This is the introduction of the story. Usually, it will be where the reader acquires the necessary background information they’ll need to follow the various plot threads through to the end. This is also where the story’s setting is established, the main characters are introduced to the reader, and the central conflict emerges.

Conflict: The conflict of the story serves as the focus and driving force of most of the story’s actions. Essentially, conflict consists of a central (and sometimes secondary) problem. Without a problem or conflict, there is no story. Conflict usually takes the form of two opposing forces. These can be external forces or, sometimes, these opposing forces can take the form of an internal struggle within the protagonist or main character.

Rising Action: The rising action of the narrative begins at the end of the exposition. It usually forms most of the plot and begins with an inciting incident that kick-starts a series of cause-and-effect events. The rising action builds on tension and culminates in the climax.

Climax: After introducing the problem or central conflict of the story, the action rises as the drama unfolds in a series of causes and effects . These events culminate in the story’s dramatic high point, known as the climax. This is when the tension finally reaches its breaking point

Falling Action: This part of the narrative comprises the events that happen after the climax. Things begin to slow down and work their way towards the story’s end, tying up loose ends on the way. We can think of the falling action as a de-escalation of the story’s drama.

Resolution: This is the final part of the plot arc and represents the closing of the conflict and the return of normality – or new normality – in the wake of the story’s events. Often, this takes the form of a significant change within the main character. A resolution restores balance and order to the world or brings about a new balance and order.

PRACTICE ACTIVITY: PLOT

Discuss a well-known story in class. Fairytales are an excellent resource for this activity. Students must name a scene from each story that corresponds to each of the sections of the plot as listed above: exposition, conflict, rising action, climax, falling action, and resolution.

Setting consists of two key elements: space and time. Space refers to the where of the story, most often the geographical location where the action of the story takes place. Time refers to the when of the story. This could be a historical period, the present, or the future.

The setting has other aspects for the reader or writer to consider. For example, drilling down from the broader time and place, elements such as the weather, cultural context, physical surroundings, etc., can be important.

The setting is a crucial part of a story’s exposition and is often used to establish the mood of the story. A carefully crafted setting can be used to skillfully hint at the story’s theme and reveal some aspects of the various characters.

PRACTICE ACTIVITY: SETTING

Gather up a variety of fiction and nonfiction texts. Students should go through the selected texts and write two sentences about each that identify the settings of each. The sentences should make clear where and when the stories take place.

3. CHARACTER

A story’s characters are the doers of the actions. Characters most often take human form, but, on occasion, a story can employ animals, fantastical creatures, and even inanimate objects as characters. 

Some characters are dynamic and change over the course of a story, while others are static and do not grow or change due to the story’s action.

There are many different types of characters to be found in works of literature, and each serves a different function.

Now, let’s look at some of the most important of these.

Protagonist

The protagonist is the story’s main character. The story’s plot centers around these characters, who are usually sympathetic and likable to the reader; that is, they are most often the ‘hero’ of the story.

The antagonist is the bad guy or girl of the piece. Most of the plot’s action is borne of the conflict between the protagonist and the antagonist. 

Flat Character

Flat characters are one-dimensional characters that are purely functional in the story. They are more a sketch than a detailed portrait, and they help move the action along by serving a simple purpose. We aren’t afforded much insight into the interior lives of such characters.

Rounded Character

Unlike flat characters, rounded characters are more complex and drawn in more detail by the writer. As well as being described in comprehensive physical detail, we will gain an insight into the character’s interior life, their hopes, fears, dreams, desires, etc.

Choose a play that has been studied in class. Students should look at the character list and then categorize each of the characters according to the abovementioned types: protagonist, antagonist, flat character, or rounded character. As an extension, can the students identify whether each character is dynamic or static by the end of the tale?

4: POINT OF VIEW

Point of view in literature refers to the perspective through which you experience the story’s events. 

There are various advantages and disadvantages to the different points of view available for the writer, but they can all be usefully categorized according to whether they’re first-person, second-person, or third-person points of view.

Now, let’s look at some of the most common points of view in each category.

First Person

The key to recognizing this point of view is using pronouns such as I, me, my, we, us, our, etc. There are several variations of the first-person narrative , but they all have a single person narrating the story’s events either as it unfolds or in the past tense.

When considering a first-person narrative, the first question to ask is who is the person telling the story. Let’s look at two main types of the first-person point of view.

First-Person Protagonist : This is when the story’s main character relates the action first-hand as he or she experiences or experienced it. As the narrator is also the main character, the reader is placed right at the center of the action and sees events unfold through the main character’s eyes.

First-Person Periphery: In this case, we see the story unfold, not from the main character’s POV but from the perspective of a secondary character with limited participation in the story itself.

Second Person: This perspective is uncommon. Though it is hard to pull off without sounding corny, you will find it in some books, such as those Choose Your Own Adventure-type books. You can recognize this perspective by using the second person pronoun ‘you’.

Third Person Limited: From this perspective, we see events unfold from the point of view of one person in the story. As the name suggests, we are limited to seeing things from the perspective of the third-person narrator and do not gain insight into the internal life of the other characters other than through their actions as described by the third-person narrator (he, she, they, etc.).

Third Person Omniscient: The great eye in the sky! The 3rd person omniscient narrator, as the name suggests, knows everything about everyone. From this point of view, nothing is off-limits. This allows the reader to peek behind every curtain and into every corner of what is going on as the narrator moves freely through time and space, jumping in and out of the characters’ heads along the way.

Advantages and Disadvantages

As we’ve mentioned, there are specific advantages and disadvantages to each of the different points of view. While the third-person omniscient point of view allows the reader full access to each character, the third-person limited point of view is great for building tension in a story as the writer can control what the reader knows and when they know it.

The main advantage of the first-person perspective is that it puts the reader into the head of the narrator. This brings a sense of intimacy and personal detail to the story.

We have a complete guide to point of view here for further details.

PRACTICE ACTIVITY: POINT OF VIEW

Take a scene from a story or a movie that the student is familiar with (again, fairytales can serve well here). Students must rewrite the scene from each of the different POVs listed above: first-person protagonist, first-person periphery, second-person, third-person limited, and third-person omniscient. Finally, discuss the advantages and disadvantages of writing the scene from each POV. Which works best and why?

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If the plot refers to what happens in a story, then the theme is to do with what these events mean. 

The theme is the big ideas explored in a work of literature. These are often universal ideas that transcend the limits of culture, ethnicity, or language. The theme is the deeper meaning behind the events of the story.

Notably, the theme of a piece of writing is not to be confused with its subject. While the subject of a text is what it is about, the theme is more about how the writer feels about that subject as conveyed in the writing.

It is also important to note that while all works of literature have a theme, they never state that theme explicitly. Although many works of literature deal with more than one theme, it’s usually possible to detect a central theme amid the minor ones.

The most commonly asked question about themes from students is, ‘ How do we work out what the theme is? ’ 

The truth is, how easy or how difficult it will be to detect a work’s theme will vary significantly between different texts. The ease of identification will depend mainly on how straightforward or complex the work is.

Students should look for symbols and motifs within the text to identify the theme. Especially symbols and motifs that repeat. 

Students must understand that symbols are when one thing is used to stand for another. While not all symbols are related to the text’s theme, when symbols are used repeatedly or found in a cluster, they usually relate to a motif. This motif will, in turn, relate to the theme of the work.

Of course, this leads to the question: What exactly is a motif?

A motif is a recurring idea or an element that has symbolic significance. Uncovering this significance will reveal the theme to a careful reader.

We can further understand the themes as concepts and statements. Concepts are the broad categories or issues of the work, while statements are the position the writer takes on those issues as expressed in the text.

Here are some examples of thematic concepts commonly found in literature:

• Forgiveness

When discussing a work’s theme in detail, identifying the thematic concept will not be enough. Students will need to explore what the thematic statements are in the text. That is, they need to identify the opinions the writer expresses on the thematic concepts in the text.

For example, we might identify that a story is about forgiveness, that is, that forgiveness is the primary thematic concept. When we identify what the work says about forgiveness, such as it is necessary for a person to move on with their life, we identify a thematic statement.

PRACTICE ACTIVITY: THEME

Again, choose familiar stories to work with. For each story, identify and write the thematic concept and statement. For more complex stories, multiple themes may need to be identified.

AN EXCELLENT VIDEO TUTORIAL ON STORY ELEMENTS

Tone refers to how the theme is treated in a work. Two works may have the same theme, but each may adopt a different tone in dealing with that theme. For example, the tone of a text can be serious, comical, formal, informal, gloomy, joyful, sarcastic, or sentimental, to name but eight.

The tone that the writer adopts influences how the reader reads that text. It informs how the reader will feel about the characters and events described. 

Tone helps to create the mood of the piece and gives life to the story as a whole.

PRACTICE ACTIVITY: TONE

Find examples of texts that convey each of the eight tones listed above: serious, comical, formal, informal, gloomy, joyful, sarcastic, and sentimental. Give three examples from each text that convey that specific tone. The examples can be drawn from direct quotations of the narrative or dialogue or a commentary on the structure of the text.

Conclusion:

Though the essential elements of literature are few in number, they can take a lifetime to master. The more experience a student gains in creating and analyzing texts regarding these elements, the more adept they will become in their use.

Time invested in this area will reap rich rewards regarding the skill with which a student can craft a text and the level of enjoyment and meaning they can derive from their reading. 

Time well spent, for sure.

TEACHING RESOURCES

Other great articles related to elements of literature.

7 ways to write great Characters and Settings | Story Elements

Teaching The 5 Story Elements: A Complete Guide for Teachers & Students

Short Story Writing for Students and Teachers

Elements of an Essay

Definition of elements of an essay.

An essay is a piece of composition that discusses a thing, a person, a problem, or an issue in a way that the writer demonstrates his knowledge by offering a new perspective , a new opinion, a solution, or new suggestions or recommendations. An essay is not just a haphazard piece of writing. It is a well-organized composition comprising several elements that work to build an argument , describe a situation, narrate an event, or state a problem with a solution. There are several types of essays based on the purpose and the target audience . Structurally, as an essay is an organized composition, it has the following elements:

• Introduction
• Body Paragraphs

Nature of Elements of an Essay

An essay has three basic elements as given above. Each of these elements plays its respective role to persuade the audience, convince the readers, and convey the meanings an author intends to convey. For example, an introduction is intended to introduce the topic of the essay. First it hooks the readers through the ‘ hook ,’ which is an anecdote , a good quote, a verse , or an event relevant to the topic. It intends to attract the attention of readers.

Following the hood, the author gives background information about the topic, which is intended to educate readers about the topic. The final element of the introduction is a thesis statement. This is a concise and compact sentence or two, which introduces evidence to be discussed in the body paragraphs.

Body paragraphs of an essay discuss the evidences and arguments introduced in the thesis statement . If a thesis statement has presented three evidences or arguments about the topic, there will be three body paragraphs. However, if there are more arguments or evidences, there could be more paragraphs.

The structure of each body paragraph is the same. It starts with a topic sentence, followed by further explanation, examples, evidences, and supporting details. If it is a simple non-research essay, then there are mostly examples of what is introduced in the topic sentences. However, if the essay is research-based, there will be supporting details such as statistics, quotes, charts, and explanations.

The conclusion is the last part of an essay. It is also the crucial part that sums up the argument, or concludes the description, narration, or event. It is comprised of three major parts. The first part is a rephrasing of the thesis statement given at the end of the introduction. It reminds the readers what they have read about. The second part is the summary of the major points discussed in the body paragraphs, and the third part is closing remarks, which are suggestions, recommendations, a call to action, or the author’s own opinion of the issue.

Function of Elements of an Essay

Each element of an essay has a specific function. An introduction not only introduces the topic, but also gives background information, in addition to hooking the readers to read the whole essay. Its first sentence, which is also called a hook, literally hooks readers. When readers have gone through the introduction, it is supposed that they have full information about what they are going to read.

In the same way, the function of body paragraphs is to give more information and convince the readers about the topic. It could be persuasion , explanation, or clarification as required. Mostly, writers use ethos , pathos , and logos in this part of an essay. As traditionally, it has three body paragraphs, writers use each of the rhetorical devices in each paragraph, but it is not a hard and fast rule. The number of body paragraphs could be increased, according to the demand of the topic, or demand of the course.

As far as the conclusion is concerned, its major function is to sum up the argument, issue, or explanation. It makes readers feel that now they are going to finish their reading. It provides them sufficient information about the topic. It gives them a new perspective, a new sight, a new vision, or motivates them to take action. The  conclusion needs to also satisfy readers that they have read something about some topic, have got something to tell others, and that they have not merely read it for the sake of reading.

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• Persuasive Essay
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Choose Your Test

Sat / act prep online guides and tips, the 9 literary elements you'll find in every story.

General Education

The AP Literature exam is designed to test your ability to analyze literature. That means you'll have to know how to use analytical tools, like literary elements, to uncover the meaning of a text.

Because literary elements are present in every piece of literature (really!), they're a good place to start when it comes to developing your analytical toolbox. In this article, we'll give you the literary element definition, explain how a literary element is different from a literary device, and look at the top nine literary elements you need to know before taking the AP Literature exam.

So let's get started!

What Are Literary Elements?

Take a minute and imagine building a house. (Stick with us, here.) What are some of the things that you would absolutely have to include in order to make a house? Some of those non-negotiable elements are a roof, walls, a kitchen, and a bathroom. If you didn't have these elements, you wouldn't have a house. Heck, you might not even have a building!

A literary element's definition is pretty similar. Literary elements are the things that all literature—whether it's a news article, a book, or a poem— absolutely have to have. Just like a house, the elements might be arranged slightly differently...but at the end of the day, they're usually all present and accounted for. Literary elements are the fundamental building blocks of writing, and they play an important role in helping us write, read, and understand literature.

You might even say that literary elements are the DNA of literature.

How Is a Literary Element Different From a Literary Device?

But wait! You've also learned about literary device (sometimes called literary techniques), which writers use to create literature!

So what makes a literary element different from a literary device?

Let's go back to our house metaphor for a second. If literary elements are the must-have, cannot-do-without parts of a house, then literary devices are the optional decor. Maybe you like a classic style (a trope !), or perhaps you're more of an eclectic kind of person (a conceit )! Just because you decorate your house like a crazy person doesn't make it any less of a house. It just means you have a...unique personal style.

Literary devices are optional techniques that writers pick and choose from to shape the style, genre, tone, meaning, and theme of their works . For example, literary devices are what make Cormac McCarthy's western novel, Blood Meridian , so different from Matt McCarthy's medical memoir, The Real Doctor Will See You Shortly . Conversely, literary elements—especially the elements that qualify both works as "books"—are what keep them shelved next to each other at Barnes & Noble. They're the non-negotiable things that make both works "literature."

Top 9 Literary Elements List (With Examples!)

Now let's take a more in-depth look at the most common elements in literature. Each term in the literary elements list below gives you the literary element definition and an example of how the elements work.

#1: Language

The most important literary element is language. Language is defined as a system of communicating ideas and feelings through signs, sounds, gestures, and/or marks. Language is the way we share ideas with one another, whether it's through speech, text, or even performance!

All literature is written in a recognizable language, since one of literature's main goals is sharing ideas, concepts, and stories with a larger audience. And since there are over 6,900 distinct languages in the world , that means literature exists in tons of different linguistic forms, too. (How cool is that?!)

Obviously, in order to read a book, you need to understand the language it's written in. But language can also be an important tool in understanding the meaning of a book, too. For instance, writers can combine languages to help readers better understand the characters, setting, or even tone. Here's an example of how Cherrie Moraga combines English and Spanish in her play, Heroes and Saints :

Look into your children's faces. They tell you the truth. They are our future. Pero no tendremos ningún futuro si seguimos siendo víctimas.

Moraga's play is about the plight of Hispanic migrant workers in the United States. By combining English and Spanish throughout the play, Moraga helps readers understand her characters and their culture better.

The plot of a work is defined as the sequence of events that occurs from the first line to the last. In other words, the plot is what happens in a story.

All literature has a plot of some kind. Most long-form literature, like a novel or a play, follows a pretty typical plot structure, also known as a plot arc. This type of plot has six elements:

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

If you've ever read a Shakespearean play, then you've seen the plot we outlined above at work. But even more contemporary novels, like The Hunger Games , also use this structure. Actually, you can think of a plot arc like a story's skeleton!

But what about poems, you ask? Do they have plots? Yes! They tend to be a little less dense, but even poems have things that happen in them.

Take a look at "Do not go gentle into that good night" by Dylan Thomas . There's definitely stuff happening in this poem: specifically, the narrator is telling readers not to accept death without a fight. While this is more simple than what happens in something like The Lord of the Rings , it's still a plot!

The mood of a piece of literature is defined as the emotion or feeling that readers get from reading the words on a page. So if you've ever read something that's made you feel tense, scared, or even happy...you've experienced mood firsthand!

While a story can have an overarching mood, it's more likely that the mood changes from scene to scene depending on what the writer is trying to convey. For example, the overall mood of a play like Romeo and Juliet may be tragic, but that doesn't mean there aren't funny, lighthearted moments in certain scenes.

Thinking about mood when you read literature is a great way to figure out how an author wants readers to feel about certain ideas, messages, and themes . These lines from "Still I Rise" by Maya Angelou are a good example of how mood impacts an idea:

You may cut me with your eyes, You may kill me with your hatefulness, But still, like air, I'll rise.

What are the emotions present in this passage? The first three lines are full of anger, bitterness, and violence, which helps readers understand that the speaker of the poem has been terribly mistreated. But despite that, the last line is full of hope. This helps Angelou show readers how she won't let others' actions—even terrible ones—hold her back.

#4: Setting

Have you ever pictured yourself in living in the Gryffindor dormitories at Hogwarts? Or maybe you've wished you could attend the Mad Hatter's tea party in Wonderland. These are examples of how settings—especially vivid ones—capture readers' imaginations and help a literary world come to life.

Setting is defined simply as the time and location in which the story takes place. The setting is also the background against which the action happens. For example, Hogwarts becomes the location, or setting, where Harry, Hermione, and Ron have many of their adventures.

Keep in mind that longer works often have multiple settings. The Harry Potter series, for example, has tons of memorable locations, like Hogsmeade, Diagon Alley, and Gringotts. Each of these settings plays an important role in bringing the Wizarding World to life.

The setting of a work is important because it helps convey important information about the world that impact other literary elements, like plot and theme. For example, a historical book set in America in the 1940s will likely have a much different atmosphere and plot than a science fiction book set three hundred years in the future. Additionally, some settings even become characters in the stories themselves! For example, the house in Edgar Allen Poe's short story, "The Fall of the House of Usher," becomes the story's antagonist . So keep an eye out for settings that serve multiple functions in a work, too.

All literary works have themes, or central messages, that authors are trying to convey. Sometimes theme is described as the main idea of a work...but more accurately, themes are any ideas that appear repeatedly throughout a text. That means that most works have multiple themes!

All literature has themes because a major purpose of literature is to share, explore, and advocate for ideas. Even the shortest poems have themes. Check out this two line poem, "My life has been the poem I would have writ," from Henry David Thoreau :

But I could not both live and utter it.

When looking for a theme, ask yourself what an author is trying to teach us or show us through their writing. In this case, Thoreau is saying we have to live in the moment, and living is what provides the material for writing.

#6: Point of View

Point of view is the position of the narrator in relationship to the plot of a piece of literature . In other words, point of view is the perspective from which the story is told.

We actually have a super in-depth guide to point of view that you can find here . But here's the short version: literature can be written from one of four points of view.

• First person: This is told by one of the characters of the story from their perspective. You can easily identify first-person points of view by looking for first-person pronouns, like "I," "you," and "my."
• Second person: second-person point of view happens when the audience is made a character in the story. In this instance, the narrator uses second person pronouns, like "you" and "your." If you ever get confused, just remember that "Choose Your Own Adventure" books use second person.
• Third person limited: this is when the narrator is removed from the story and tells it from an outside perspective. To do this, the narrator uses pronouns like "he," "she," and "they" to refer to the characters in the story. In a third person limited point of view, this narrator focuses on the story as it surrounds one character. It's almost like there's a camera crew following the protagonist that reports on everything that happens to them.
• Third person omniscient : in this point of view, the narrator still uses third-person pronouns...but instead of being limited to one character, the narrator can tell readers what's happening with all characters at all times. It's almost like the narrator is God: they can see all, hear all, and explain all!

Point of view is an important literary element for two reasons. First, it helps us better understand the characters in a story. For example, a first person point of view lets readers get to know the main character in detail, since they experience the main character's thoughts, feelings, and actions.

Second, point of view establishes a narrator, or a character whose job it is to tell the story, which we'll talk about in the next section!

#7: Narrator

Like we just mentioned, the narrator is the person who's telling the story. All literature has a narrator, even if that narrator isn't named or an active part of the plot.

Here's what we mean: when you read a newspaper article, it's the reporter's job to tell you all the details of a particular event. That makes the reporter the narrator. They're taking a combination of interviews, research, and their own eyewitness account to help you better understand a topic.

The same is true for the narrator of a book or poem, too. T he narrator helps make sense of the plot for the reader . It's their job to explain, describe, and even dramatically reveal plot points to the audience. Here's an example of how one of the most famous narrators in literature, John Watson, explains Sherlock Holmes' character to readers in A Study in Scarlet:

He was not studying medicine. He had himself, in reply to a question, confirmed Stamford's opinion upon that point. Neither did he appear to have pursued any course of reading which might fit him for a degree in science or any other recognized portal which would give him an entrance into the learned world. Yet his zeal for certain studies was remarkable, and within eccentric limits his knowledge was so extraordinarily ample and minute that his observations have fairly astounded me. Surely no man would work so hard or attain such precise information unless he had some definite end in view. Desultory readers are seldom remarkable for the exactness of their learning. No man burdens his mind with small matters unless he has some very good reason for doing so.

John Watson tells the story from a first person perspective (though that's not evident in this quote). That means he's giving readers his own perspective on the world around him, which includes Sherlock Holmes. In this passage, readers learn about Holmes' peculiar learning habits, which is just another part of his extraordinary nature.

#8: Conflict

Because conflict is a part of plot—and as we've already established, all literature has some sort of plot—that means conflict is a literary element, too. A conflict is the central struggle that motivates the characters and leads to a work's climax. Generally, conflict occurs between the protagonist , or hero, and the antagonist , or villain...but it can also exist between secondary characters, man and nature, social structures, or even between the hero and his own mind.

More importantly, conflict gives a story purpose and motivates a story's plot . Put another way, conflict causes the protagonist to act. Sometimes these conflicts are large in scale, like a war...but they can also be small, like conflict in a relationship between the hero and their parents.

One of the most important things to understand about conflict is it can be both explicit and implicit. Explicit conflict is explained within the text; it's an obvious moment where something goes wrong and characters have to fix it. Bram Stoker's Dracula uses explicit conflict to fuel its plot: a vampire has come to England, and the heroes in the story have to kill him as soon as possible.

Implicit conflict is more common in poetry, where there isn't a specific occurrence that obviously screams, "this is a problem." Instead, you have to read between the lines to find the conflict that's motivating the narrator. Take a look at Elizabeth Barrett Browning's "How Do I Love Thee?" for an example of implicit conflict in action:

I love thee to the depth and breadth and height My soul can reach, when feeling out of sight For the ends of being and ideal grace. I love thee to the level of every day's Most quiet need, by sun and candle-light. I love thee freely, as men strive for right. I love thee purely, as they turn from praise. I love thee with the passion put to use In my old griefs, and with my childhood's faith. I love thee with a love I seemed to lose With my lost saints. I love thee with the breath, Smiles, tears, of all my life; and, if God choose, I shall but love thee better after death.

The conflict here is actually a happy one: the narrator is so in love that she's struggling with expressing the depth of her emotion!

#9: Characters

A piece of literature has to have at least one character, which can be a person, an object, or an animal.

While there are many different character types (and archetypes!), we're going to talk about the two you absolutely need to know: the protagonist and the antagonist.

The protagonist of a work is its main character. The plot circles around this person or object, and they are central to solving the conflict of the story. Protagonists are often heroic, but they don't have to be: many stories focus on the struggles of average people, too. For the most part, protagonists are the characters that you remember long after the book is over, like Katniss Everdeen, David Copperfield, Sherlock Holmes, and Hester Prynne.

Antagonists, on the other hand, are the characters that oppose the protagonist in some way. (This opposition is what causes the conflict of the story!) There can be multiple antagonists in a story, though usually there's one major character, animal, or object that continues to impede the protagonist's progress. If you ever forget what an antagonist is, just think of your favorite Disney villains. They're some of the best bad guys out there!

What's Next?

If you're not taking AP practice tests, there's no way to know how you'll do when you're taking the exam for real. Here's a list of practice tests for every AP exam, including the AP literature exam . It might seem like extra work, but we promise—practice tests are one of the best ways to help you improve your score!

Listen: we know you're busy, so it can be hard to schedule time to study for an AP test on top of your extracurriculars and normal class work. Check out this article on when you need to start studying for your AP tests to make sure you're staying on track.

What does a good AP score look like, anyway? Here's a list of the average AP scores for every single AP test. This is great for seeing how your practice scores stack up against the national average.

These recommendations are based solely on our knowledge and experience. If you purchase an item through one of our links, PrepScholar may receive a commission.

Ashley Sufflé Robinson has a Ph.D. in 19th Century English Literature. As a content writer for PrepScholar, Ashley is passionate about giving college-bound students the in-depth information they need to get into the school of their dreams.

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Literary Elements: What are the 7 Elements of Literature?

by Fija Callaghan

Literary elements in storytelling can cause a lot of confusion, and even a bit of fear, among new writers. Once you’re able to recognize the literary elements of a story you’ll realize that they’re present in absolutely everything.

All stories are made up of basic structural building blocks such as plot, character, and theme, whether it’s a riveting Friday night TV series, a two-hundred-thousand-word Dickensian novel of redemption, or a trashy paperback about fifty shades of highly inappropriate workplace relations. Once you understand how these elements of story take shape from our literary elements list, you’ll be able to use them to explore entire worlds of your own.

What are literary elements?

Literary elements are the common structural elements that every story needs to be successful. The seven elements of literature are character, setting, perspective, plot, conflict, theme, and voice. These elements are the building blocks of good stories because if any are missing, the story will feel incomplete and unsatisfying. Applying these elements is critical to crafting an effective story.

Here’s an example of why literary elements matter in storytelling:

The cat sat on the chair is an event. A small, quiet happenstance with a beginning and an ending so closely entwined that you almost can’t tell one from the other.

The cat sat on the dog’s chair is a story.

Why? Because with the addition of one little word, suddenly this quiet happenstance is glowing with possibility. We have our characters—a cat and a dog, whose relationship is gently hinted at with the promise of being further explored. We have our setting—a chair, which has taken on new importance as the central axis of this moment. And, perhaps most importantly, we have our conflict. An inciting moment where two characters want something and we know that these desires can’t exist side by side. This is a story.

All stories come from these basic building blocks that we call “literary elements.” Without them, seeds of a story like this one can’t grow into rich, full narratives.

You may already be able to identify some or all of these literary elements from the stories you’ve experienced throughout your life, whether that’s through reading them or from watching them in films or on television. Once you know what these literary elements of a story are and how they fit together, you’ll be able to create vivid, engaging stories from your own little seeds.

What’s the difference between literary elements vs. literary devices?

Sometimes you’ll see a “literary elements list” or “literary devices list” that toss the two together in one big storytelling melange, but literary elements and literary devices are actually two very distinct things. Let’s take a closer look at each one.

Literary elements

These are things that every single story needs to have in order to exist—they’re the architectural foundation. Without them, your story is like a house without any supports; it’ll collapse into a sad, lifeless pile of rubble, and you’ll hear your parents tossing around unfeeling words like “day job” when talking about your writing.

Literary devices

A literary device , on the other hand, refers to the many tools and literary techniques that a writer uses to bring a story to life for the reader. The difference is like the difference between making a home instead of merely building a house.

You can have a very simple story without any literary devices at all, but it would do little other than serve a functional purpose of showing a beginning, middle, and end. Literary devices are what bring that basic story scaffolding to life for the reader. They’re what make the story yours .

Some of the most common literary devices are things like metaphors, similes, imagery, language, and tons more. By experimenting with different literary devices and literary techniques in your own writing, you open up the full expanse of potential in creating literary works.

Once you’ve got a handle on the literary elements that we’re going to show you and how to apply them to your own narrative, you can check out our lesson on popular literary devices to find ways to bring new richness and depth to your work.

The 7 elements of literature

1. character.

The most fundamental of the literary elements, the root of all storytelling, is this: character .

No matter what species your main character belongs to, what their socio-ethno-economic background is, what planet they come from, or what time period they occupy, your characters will have innate needs and desires that we as human beings can see within ourselves. The longing for independence, the desire to be loved, the need to feel safe are all things that most of us have experienced and can relate to when presented through the filter of story.

The first step to using this literary element is easy, and what most new writers think of when they start thinking about characters. it’s simply asking yourself, who is this person? (And again, I’m using “person” in the broadest possible sense.) What makes them interesting? Why is this protagonist someone I might enjoy reading about?

The second step is a little harder. Ask yourself, what does this person want? To be chosen for their high school basketball team? To get accepted into a university across the country? To find a less stressful job?

The third step is the most difficult, and the most important. Ask yourself what they need . Do they want to join the basketball team because they need the approval of their parents? Do they want to move across the country because they need a fresh start in a new place? Do they want a new job because they need to feel that their contribution is valued?

Once you’re able to answer these questions you’ll already feel the bones of a narrative taking shape.

Types of characters you’ll find in every story

Since character is the primary building block of all good literature, you’ll want your character to be as engaging and true to real life as can be. Let’s take a quick look at some of the different character types you’ll encounter in your story world.

Protagonist

Your protagonist is the main character of your story. Often they’ll be the hero, but not always—antiheroes and complex morally grey leads make for interesting plots, too. This is the character through which your reader goes on a journey and learns the valuable lessons illustrated in your themes (more on theme down below).

Your antagonist is the person standing in the way of your protagonist’s goal. These two central characters have opposing desires, and it’s the conflict born out of that opposition that drives the events of the plot. Sometimes an antagonist will be a villain bent on world destruction, and sometimes it’ll be an average person who simply sees the world in a different way.

Supporting characters

Once you have those two essential leads, your story needs its supporting cast. This is where you get to have fun with other characters like friends, love interests, family dynamics, and a whole range of character archetypes that bring your story to life.

Foil characters

As a bonus, many stories may also feature foil characters. A foil character in literature refers to two characters who may or may not be at odds with each other, but are opposite in every way. This literary technique works effectively to highlight aspects of each character. Your foil characters may be the protagonist and the antagonist, or the protagonist and one of the supporting characters, or both.

Your setting is where , when , and to some degree how your story takes place. It’s also your character’s relationship with the world around them. A story setting might be as small as a cupboard under the stairs, or it might be as wide and vast as twenty thousand leagues of endless grey sea. A short story might have only one setting, the heart of where the story takes place; longer works such as novels will probably have several. You can use all five senses to develop your setting.

Setting often gets overlooked as a less important literary element than character, plot, or conflict, but in reality a setting can drive all of these things. So much of who we are is shaped by the social setting we grew up, the places we spend our time, the time period we grew up in, and major events of the time that impacted our cultural awareness. Your characters are no different.

Someone who has spent their life on a sprawling country estate bordering a dark and spooky wood will naturally grow into someone very different than someone living in the narrow back alleys of a noisy, gritty city—just as someone living in the Great Depression of the 1930s will grow to develop different habits and perspectives than someone living in the technological advancements of the late 1990s.

Layers of setting to explore in your writing

Setting isn’t just about place—it’s about building your story world from the ground up. Here are the three different layers of setting you’ll need to consider when crafting your tale.

Temporal settings

Temporal setting refers to the time in which your story is set. This means the period of history—whether that’s in contemporary times, at the turn of the century, or in a distant future—as well as the season of the year, time of day or night, and point in your protagonist’s life cycle.

Environmental settings

This is the wider world of your story—what fantasy and science-fiction writers call “worldbuilding.” It refers to the natural landscape your characters find themselves in as well as cultural, political, and socioeconomic values and the way your characters interact with those values.

Individual settings

This is the fine details of setting, and what we most often tend to think about when we consider setting in a story. These are the stages on which your story takes place: an elementary school, a police station, a city park, a pirate ship. Your story needs the support of temporal and environmental setting, but individual settings are what really bring the world to life.

3. Narrative

The way you’re telling your story to the reader is as essential as the story that’s being told. In literary terms, narrative is the perspective from which the events of the story are unfolding and the way that you, as the author, have chosen to communicate them.

Every single character brings a different perspective to the story. They may have prejudices, limitations, prior knowledge, or deep character flaws that colour the way they see the world around them.

Some stories stay with only one character throughout the entire journey; others may explore the thoughts and feelings of many. As an exercise, you may want to try writing a story from multiple perspectives to gain a better understanding of your story world. You’d be surprised how much you can learn about your characters that you never imagined.

Types of PoV used in fiction writing

Point of view, or PoV, is one of the most important choices a writer makes when beginning a new work of fiction. Here’s a quick overview of the different points of view you’ll find in all narratives.

First Person Subjective

First person narratives are written from the character’s point of view (or the PoV of multiple characters) as if they were speaking directly to the reader. You’ll use statements like “I saw a shadow move from the corner of my eye,” or, “and then he told me that it was over.” First person subjective PoV takes the reader into the mind of the character and shows us everything they’re thinking and feeling.

First Person Objective

First person objective is very similar because it’s also from the character’s perspective and uses “I” and “me” statements. The difference is that the objective PoV doesn’t show the character’s internal thoughts and feelings—only their actions. This gives the reader an outside perspective and makes them feel like they’re watching video footage of the story, deducing what’s happening under the surface from the events of the plot.

Second Person

Second person PoV has a lot in common with first person, but instead of being told from the main character’s perspective, it’s told from the reader’s—this allows the reader to become the person telling the story. You may remember this from “Choose Your Own Adventure” books. In second person narration, you’ll use statements like “you turn a corner and find yourself staring at a door you’ve never seen.” This is challenging to do well, but a fun creative exercise for any writer.

Third Person Limited Subjective

Third person points of view are the most classic in literature; they use “he,” “she,” or “they” to follow the characters’ journeys. In a limited subjective point of view, you’ll allow the reader to experience the thoughts and feelings of your protagonist—but no one else. This is a common narrative choice in mystery novels.

Third Person Objective

Third person objective is pretty similar to first person objective, but it uses the third person pronouns. The reader won’t experience anything the characters are thinking or feeling except through their actions and the choices that they make, leaving the true undercurrents of the story to the reader’s imagination.

Third Person Multiple Subjective

This perspective works like third person limited subjective, in that it takes the reader into the minds of the characters using the pronouns “he,” “she,” or “they.” The difference is that the reader gets to see into more than one character—but only one at any given moment. This might involve chapters that alternate between one character and another, or a story that shows two different timelines with protagonists for each one.

Third Person Omniscient

This perspective is very similar to third person multiple subjective, but it allows the reader to see into more than one character’s thoughts in the same moment. The third person omniscient creates a “mental dollhouse” effect in which the internal workings of everyone on stage is exposed to the reader.

In a literary text, the plot is the sequence of events that takes the protagonist on a journey —whether that’s a literal journey from one place to another, a journey in which they learn how something came to be, or a journey in which they learn something about themselves. Some stories may be all of these things.

How your protagonist reacts to the events around them and the choices that they make come from the things they want and the things they need—we looked at that a little bit in character, above. Most of these stories will fall into one of a few classic plot structures that have been shown to resonate with us on a deep, instinctual level. And every one of these plot structures will use several essential plot points.

Important plot points every story needs

There’s a number of different ways to approach the plot of your story, but you’ll find that most of them follow the same general sequence of events from the inciting incident, or the first key plot point, to the denouement. Let’s look at the different stages that a good story will pass through from beginning to end.

Inciting incident

The inciting incident is the event that changes the protagonist’s life and sends them on a different path than the one they were on before. This will be the first major plot point of every story, and is essential for grabbing the reader’s attention. A good example might be if a mysterious new stranger enters the protagonist’s life.

Rising action

During the first half of your story, your characters will encounter several challenges on their way to achieving their goal (the one set into motion by the inciting incident). These “mini battles” form the rising action of a story.

The climax is the great showdown between the protagonist and their adversary, the moment of greatest triumph and greatest loss. Everything your characters have learned through the rising action has led to this moment.

Falling action

After the final battle, your characters need to adjust to the new landscape of their world. During the falling action, you’ll show the reader how the effects of the rising action and the climax reverberate into the characters’ lives.

The denouement is the final scene of any story that wraps up all the lingering threads and answers any unaddressed questions. A well-written denouement will leave the reader feeling satisfied as they close the book.

5. Conflict

When looking at the events that make up your plot, all of the choices your character needs to make will be in response to the literary element we call “conflict.” This makes it one of the most essential literary elements in literature. This might be a conflict with another person, a conflict inside themselves, or a conflict with their environment. It might be all of these things. There’s a reason we close the book after “happily ever after”; once there’s no more conflict, the story has run its course and there’s nothing more to say.

In a story, your protagonist should always have something to fight for. After you’ve determined what they want and what they need most, ask yourself what’s standing in their way. What steps can they take to overcome this obstacle? And—this is a big one— what do they stand to lose if they fail?

How your protagonist reacts to these conflicts shows a lot about who they are as a person. As the story progresses and your character grows, the way they handle these conflicts will probably change—they’ll start taking an active role in moving the story along, rather than a passive one.

Types of conflict that drive your characters

Conflict is essential to a good story, but it can be so much more than simply pitting a hero against a villain. Let’s look at the different kinds of conflict that drive a story forward.

Character vs. Character

Above, we looked at how antagonists can be central characters in a good narrative. This type of conflict sets a person against another person, usually the classic bad guys of literature, and watches their opposing needs play out. These will usually be the main characters of the literary work.

Character vs. Self

Sometimes, a protagonist’s obstacle comes from within. This might be something like addiction, alcoholism, fear, or other forms of self-sabotage. This type of conflict shows the main character fighting and ultimately overcoming their central weakness.

Character vs. Society

This type of conflict sets an individual protagonist against the larger world. Stories that deal in difficult themes like racism, homophobia, misogyny, or class divides often focus on this conflict. (We’ll look a little more at theme down below.)

Character vs. Nature

A beloved mainstay of hollywood blockbusters, this type of conflict sets the protagonist against an impersonal force of the natural world—an animal, a natural disaster, or illness.

Theme as a literary element is something that makes both readers and writers a little cautious. After all, doesn’t worrying about developing and understanding a theme take some of the enjoyment out of stories? Well no, it shouldn’t, because themes are present in all works of art whether they were put there intentionally or not. Theme is simply the sum of what the creator was trying to communicate with their work.

Neil Gaiman approached the idea of theme very nicely by asking one simple question: “What’s it about?” What’s this story really about? Underneath all the explosions and secrets and tense kisses and whatever else makes your plot go forward, maybe it’s really a story about family. Or injustice. Or maybe it’s about being there for your best friend even when they screw up really, really bad.

Contrary to popular belief, your theme isn’t an extra layer you add to give depth and richness to the plot. Your theme is the story’s heart —the reason it exists.

Your central theme probably isn’t where the story comes from, at least not initially. Most likely it’s something you’ll discover along the way as the story’s central message becomes clearer through the actions of your characters. It might be an abstract idea, or a lesson you want to share with the world.

Then, once you find this idea taking shape in your mind, you can double back and add in literary devices, details, figurative language, motifs, and relationships that support this heart of the story. Voilà —now it looks like you knew what you were doing all along.

Examples of classic themes in literature

A story’s theme is the central axis of every literary work. Sometimes you’ll find you have multiple themes present in one story, each supporting and underlining the other. Here’s a list of common themes you’ll find across literature.

Central idea themes

Disillusionment

Opposing principle themes

Good vs. Evil

Individual vs. Society

Life vs. Death

Fate vs. Free Will

Tradition vs. Change

Pride vs. Humility

Justice vs. Depravity

Morality vs. Fear

A writer’s voice is something that no guidebook can give you; it’s simply what’s left after everything that’s not your voice has been worn away.

Think of it this way: the work of new writers is usually a spark of an idea (sometimes original, sometimes not) encrusted with everything they’ve ever read. They may be trying to emulate writers who have written things that they’ve resonated with, or they may have simply absorbed those things subconsciously and are now watching them leak out of their fingers as they write.

That’s not to say that writing literature in the style of other craftsmen before you is a negative thing; in fact, it’s how we learn to master the storytelling craft of our own. This is how we try things and find them delightful, or we try things and find that, for some reason or another, they don’t quite settle into our bones the way we’d like them too. Those pieces get discarded, and we continue to grow.

Every time you write something, you’re essentially working in the dark to smooth down the rough gem that will become your storytelling voice. Little by little it takes shape, and one day you read over something you’ve written and are surprised by the thought, “Hey! That sounds like me .”

There’s no formula to this, unfortunately. A writer develops this core literary element simply by doing, by trying, by experimenting with word choice and by being aware of what works and what doesn’t and why.

Once you have this your stories become something that is intimately yours, and no one else’s, even as you grow and share those stories with the world.

Tips for developing your writer’s voice

A writer’s voice can only be found by practicing your own writing and looking inwards, but here’s a few tips to keep in mind that will help you uncover and refine your signature voice.

Read everything

The best way to find your unique voice as a writer is by reading the work of others who have gone before you. This will help you immerse in different styles, sentence structures, and literary devices to find which ones feel like a natural fit.

Try on other writers

As an exercise, try emulating the style of different writers. By experimenting with the different narrative structures in literary works that you’ve read, you’ll be able to refine the parts that feel like you and discard the ones that don’t.

Experiment with structure

Another great exercise is experimenting with specific story archetypes and writing prompts. By imposing restraints on a piece of narrative work, you’ll be able to see how your own natural writer’s voice breaks through.

How to use literary elements to write a great story

There are as many ways to begin a story as there are storytellers. We’ve reviewed the seven literary elements that are the basic building blocks of all good stories:

We’ve looked at how characters are the lifeblood of every story; how our characters are shaped by their world, or setting; how characters reveal themselves through the events of the plot; how plot is powered by a series made of choices in response to conflict; how the underlying theme of your story is at the heart of every choice your character makes; and how their unique perspective and your unique perspective come together to tell the story in a way that only you can.

The truth is, every single one of these literary elements is an essential piece of a perfect, interwoven whole.

To create a powerful story , review each of these seven literary elements and consciously pay attention to each one as you explore your own writing. The most memorable stories are the ones where the writer has carefully used these seven elements in depth to build a solid storytelling foundation.

When you sit down to write, the idea for a new story can come from any one of these literary elements. It might be a cool new character you want to explore further, a period in time that you’re fascinated by, an event you overhear while sitting at a café, or an underrepresented theme that you want to build a story around so that you can share it with the world.

Once you catch a little glimmer of what your story has the potential to become, the next step is to ask yourself some of the questions we discussed here to see how all of these literary elements will fit together. You can also consider incorporating a simple literary device, or several, to watch the work come to life.

Then you begin. Write things. Reconsider. Begin again. Never throw anything away. Allow yourself the freedom to learn as you go. Trust that there’s something that the world needs to hear locked somewhere inside of you, and you’re uncovering it one layer at a time. Sometimes you’ll feel like your creative spirit is on fire. Sometimes you’ll feel like it’s sitting in a pile of ashes. Both are valid. Have a teapot nearby.

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Introduction

Reviewing the essential elements of literature will give you a clear picture as to how to interpret stories that you are reading and also how to implement various elements in your own essays, narratives, and creative works.

Analyzing things like setting, plot, mood, theme, and point of view will allow you to dig deeper to determine the author’s true intention behind his or her writing. You will also learn to consider the type of narrator, their reliability, and whether or not they have objective, limited, or omniscient views.

In addition to the author’s intention for their writing, you will also consider the style within the work. Setting, characterization, and rising action will hold an important role in analyzing any piece of literature.

The activities within this section will give you a solid understanding of what each of the elements of literature mean, how they work within a piece of writing, and questions to ask yourself (while reading or writing) to address each category.

Elements of Literature

How to analyze a short story, what is a short story.

A short story is a work of short, narrative prose that is usually centered around one single event. It is limited in scope and has an introduction, body and conclusion. Although a short story has much in common with a novel (See How to Analyze a Novel), it is written with much greater precision. You will often be asked to write a literary analysis. An analysis of a short story requires basic knowledge of literary elements. The following guide and questions may help you:

Setting is a description of where and when the story takes place. In a short story there are fewer settings compared to a novel. The time is more limited. Ask yourself the following questions:

• How is the setting created? Consider geography, weather, time of day, social conditions, etc.
• What role does setting play in the story? Is it an important part of the plot or theme? Or is it just a backdrop against which the action takes place?

Study the time period, which is also part of the setting, and ask yourself the following:

• When was the story written?
• Does it take place in the present, the past, or the future?
• How does the time period affect the language, atmosphere or social circumstances of the short story?

Characterization

Characterization deals with how the characters in the story are described. In short stories there are usually fewer characters compared to a novel. They usually focus on one central character or protagonist. Ask yourself the following:

• Who is the main character?
• Are the main character and other characters described through dialogue – by the way they speak (dialect or slang for instance)?
• Has the author described the characters by physical appearance, thoughts and feelings, and interaction (the way they act towards others)?
• Are they static/flat characters who do not change?
• Are they dynamic/round characters who DO change?
• What type of characters are they? What qualities stand out? Are they stereotypes?
• Are the characters believable?

Plot and structure

The plot is the main sequence of events that make up the story. In short stories the plot is usually centered around one experience or significant moment. Consider the following questions:

• What is the most important event?
• How is the plot structured? Is it linear, chronological or does it move around?
• Is the plot believable?

Narrator and Point of view

The narrator is the person telling the story. Consider this question: Are the narrator and the main character the same?

By point of view we mean from whose eyes the story is being told. Short stories tend to be told through one character’s point of view. The following are important questions to consider:

• Who is the narrator or speaker in the story?
• Does the author speak through the main character?
• Is the story written in the first person “I” point of view?
• Is the story written in a detached third person “he/she” point of view?
• Is there an “all-knowing” third person who can reveal what all the characters are thinking and doing at all times and in all places?

Elements of Literature with Mr. Taylor (Part 1). Authored by: Kenny Taylor. Located at: https://youtu.be/9E6JJojgCew. License: All Rights Reserved. License Terms: Standard YouTube License

How to Analyze a Short Story. Authored by: Carol Dwankowski. Provided by: ndla.no. Located at: http://ndla.no/en/node/9075?fag=42&meny=102113. License: CC BY-SA: Attribution-ShareAlike

Conflict or tension is usually the heart of the short story and is related to the main character. In a short story there is usually one main struggle.

• How would you describe the main conflict?
• Is it an internal conflict within the character?
• Is it an external conflict caused by the surroundings or environment the main character finds himself/herself in?

The climax is the point of greatest tension or intensity in the short story. It can also be the point where events take a major turn as the story races towards its conclusion. Ask yourself:

• Is there a turning point in the story?
• When does the climax take place?

The theme is the main idea, lesson, or message in the short story. It may be an abstract idea about the human condition, society, or life. Ask yourself:

• How is the theme expressed?
• Are any elements repeated and therefore suggest a theme?
• Is there more than one theme?

The author’s style has to do with the his or her vocabulary, use of imagery, tone, or the feeling of the story. It has to do with the author’s attitude toward the subject. In some short stories the tone can be ironic, humorous, cold, or dramatic.

• Is the author’s language full of figurative language?
• What images are used?
• Does the author use a lot of symbolism? Metaphors (comparisons that do not use “as” or “like”) or similes (comparisons that use “as” or “like”)?

Elements of Literature with Mr. Taylor (Part 2). Authored by: Kenny Taylor. Located at: https://youtu.be/O7c_SjKcGbE. License: All Rights Reserved. License Terms: Standard YouTube License

To review, considering the various elements of literature is essential while analyzing a work of literature. Things like setting, plot, mood, theme, and point of view could give you a better idea of an author’s intention. The type of narrator, their reliability, and their type of view (objective, limited, or omniscient) will allow you to dive deeper into the trustworthiness of the information they provide.

In addition to the author’s intention for their writing, you will also consider the style within the work. Setting, characterization, and rising action will hold an important role in analyzing literature.

The elements of literature within this section are applicable as you are reading or writing on your own. You should be able to apply the definitions for the elements of literature, describe how they work within a piece of writing, and understand the questions to ask yourself while reading and/or writing.

ENG134 – Literary Genres Copyright © by The American Women's College and Jessica Egan is licensed under a Creative Commons Attribution 4.0 International License , except where otherwise noted.

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3.2: The Purpose of Literature

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What is literature for?

One of the primary goals of this course is to develop an understanding of the importance of literature as a vital source of cultural knowledge in everyday life. Literature is often viewed as a collection of made-up stories, designed to entertain us, to amuse us, or to simply provide us with an escape from the “real” world.

Although literature does serve these purposes, in this course, one of the ways that we will answer the question “What is literature for?” is by showing that literature can provide us with valuable insights about the  world  in which we live and about our  relationships  to one another, as well as to  ourselves  . In this sense, literature may be considered a vehicle for the exploration and discovery of our world and the culture in which we live. It allows us to explore alternative realities, to view things from the perspective of someone completely different to us, and to reflect upon our own intellectual and emotional responses to the complex challenges of everyday life.

By studying literature, it is possible to develop an in-depth understanding of the ways that we use language to make sense of the world. According to the literary scholars, Andrew Bennett and Nicholas Royle, “Stories are everywhere,” and therefore, “Not only do we tell stories, but stories tell us: if stories are everywhere, we are also in stories.” From the moment each one of us is born, we are surrounded by stories — oftentimes these stories are told to us by parents, family members, or our community. Some of these stories are ones that we read for ourselves, and still others are stories that we tell to ourselves about who we are, what we desire, what we fear, and what we value. Not all of these stories are typically considered “literary” ones, but in this course, we will develop a more detailed understanding of how studying literature can enrich our knowledge about ourselves and the world in which we live.

If literature helps us to make sense of, or better yet question, the world and our place in it, then how does it do this? It may seem strange to suggest that literature performs a certain kind of work. However, when we think of other subjects, such as math or science, it is generally understood that the skills obtained from mastering these subjects equips us to solve practical problems. Can the same be said of literature?

To understand the kind of work that literature can do, it is important to understand the kind of knowledge that it provides. This is a very complex and widely debated question among literary scholars. But one way of understanding the kind of knowledge that can be gained from literature is by thinking about how we use language to make sense of the world each day.  (1)

What does literature do?

Every day we use  metaphors  to describe the world. What is a metaphor? According to  A Dictionary of Literary Terms and Literary Theory  , a metaphor is “a figure of speech in which one thing is described in terms of another.” You have probably heard the expressions, “Time is money” or “The administration is a train wreck.” These expressions are metaphors because they describe one less clearly defined idea, like time or the administration of an institution, in relation to a concept whose characteristics are easier to imagine.

A metaphor forms an implied comparison between two terms whereas a  simile  makes an explicit comparison between two terms using the words like or as — for example, in his poem, “A Red, Red Rose,” the Scottish poet Robert Burns famously announces, “O my Luve is like a red, red rose/That’s newly sprung in June.” The association of romantic love with red roses is so firmly established in our culture that one need only look at the imagery associated with Valentine’s Day to find evidence of its persistence. The knowledge we gain from literature can have a profound influence on our patterns of thought and behavior.

In their book  Metaphors We Live By  , George Lakoff and Mark Johnson outline a number of metaphors used so often in everyday conversation that we have forgotten that they are even metaphors, for example, the understanding that “Happy is up” or that “Sad is down.” Likewise, we might think “Darkness is death” or that “Life is light.” Here we can see that metaphors help us to recognize and make sense of a wide range of very complex ideas and even emotions. Metaphors are powerful, and as a result they can even be problematic.

The author Toni Morrison has argued that throughout history the language used by many white authors to describe black characters often expresses ideas of fear or dread — the color black and black people themselves come to represent feelings of loathing, mystery, or dread. Likewise, James Baldwin has observed that whiteness is often presented as a metaphor for safety.  (1)

Figure 1 is taken from a book published in 1857 entitled  Indigenous Races of the Earth  . It demonstrates how classical ideas of beauty and sophistication were associated with an idealized version of white European society whereas people of African descent were considered to be more closely related to apes. One of Morrison’s tasks as a writer is to rewrite the racist literary language that has been used to describe people of color and their lives.

By being able to identify and question the metaphors that we live by, it is possible to gain a better understanding of how we view our world, as well as our relationship to others and ourselves. It is important to critically examine these metaphors because they have very real consequences for our lives.  (1)

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Literary Analysis Essay

Literary Analysis Essay - Step by Step Guide

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Published on: Aug 16, 2020

Last updated on: Jan 29, 2024

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Literature is an art that can inspire, challenge, and transform us. But how do we analyze literature in a way that truly captures its essence? 

That's where a literary analysis essay comes in. 

Writing a literary analysis essay allows you to delve into the themes, characters, and symbols of a literary work. It's a chance to engage with literature on a deeper level and to discover new insights. 

In this comprehensive guide, we will take you through the process of writing a literary analysis essay, step by step. Plus, you’ll get to read some great examples to help you out!

So let’s dive in!

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What is a Literary Analysis Essay?

Literary analysis is a process of examining a literary work in detail to uncover its meaning and significance. 

It involves breaking down the various elements of a work, such as plot, character, setting, and theme. And then analyzing how they work together to create a specific effect on the reader.

In other words, literary analysis is an exercise in interpretation. The reader of a work asks questions about what the author means to say, how they are saying it, and why. 

A literary analysis essay is an essay where you explore such questions in depth and offer your own insights.

What is the Purpose of a Literary Analysis Essay?

In general, the purpose of a literary analysis essay is as follows: 

• To gain a greater understanding and appreciation of the work.
• To be able to think critically and analytically about a text. 

Content of a Literary Analysis 

A literary analysis essay delves deep into the various aspects of a literary work to examine its meaning, symbolism, themes, and more. Here are the key elements to include in your literary analysis essay:

Plot Analysis 

Plot refers to the sequence of events that make up the storyline of a literary work. It encompasses the main events, conflicts, and resolutions that drive the narrative forward. 

Elements of Plot Analysis 

The elements of a plot typically include:

• Exposition: The introduction of the story that establishes the setting, characters, and initial circumstances.
• Rising action: A set of events or actions that sets the main conflict into motion, often occurring early in the story.
• Conflict: The series of events that build tension and develop the conflict, leading to the story's climax.
• Climax: The turning point of the story, where the conflict reaches its peak and the outcome hangs in the balance.
• Falling Action: The events that occur after the climax, leading towards the resolution of the conflict.
• Resolution: The point in the story where the conflict is resolved, providing closure to the narrative.

Character Analysis 

Character analysis involves studying the role, development, and motivations of the characters in a literary work. It explores how characters contribute to the overall narrative and themes of the story.

Elements of Character Analysis 

• Identification of major and minor characters.
• Examination of their traits, behaviors, and relationships.
• Analysis of character development and changes throughout the story.
• Evaluation of the character's role in advancing the plot or conveying themes.

Symbolism and Imagery Analysis 

Symbolism and imagery analysis focuses on the use of symbols, objects, or images in a work. It analyzes and explores the use of literary devices to convey deeper meanings and evoke emotions. 

Elements of Symbolism and Imagery Analysis 

• Identification of key symbols or recurring motifs.
• Interpretation of their symbolic significance.
• Analysis of how imagery is used to create vivid mental pictures and enhance the reader's understanding and emotional experience.

Theme Analysis 

Analyzing the theme involves exploring the central ideas or messages conveyed in a literary work. It examines the underlying concepts, or messages that the author wants to convey through the story.

Elements of Theme Analysis 

• Identification of the main themes or central ideas explored in the text.
• Analysis of how the themes are developed and reinforced throughout the story.
• Exploration of the author's perspective and the intended message behind the themes.

Setting Analysis 

The Setting of a story includes the time, place, and social context in which the story takes place. Analyzing the setting involves how the setting influences the characters, plot, and overall atmosphere of the work.

Elements of Setting Analysis 

• Description and analysis of the physical, cultural, and historical aspects of the setting.
• Examination of how the setting contributes to the mood, atmosphere, and themes of the work.
• Evaluation of how the setting shapes the characters' actions and motivations.

Structure and Style Analysis 

Structure and style analysis involves studying the organization, narrative techniques, and literary devices employed by the author. It explores how the structure and style contribute to the overall impact and effectiveness of the work.

Elements of Structure and Style Analysis 

• Analysis of the narrative structure, such as the use of flashbacks, nonlinear timelines, or multiple perspectives.
• Examination of the author's writing style, including the use of language, tone, and figurative language.
• Evaluation of literary devices, such as foreshadowing, irony, or allusion, and their impact on the reader's interpretation.

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How to Write a Literary Analysis Essay?  

Writing a great literary analysis piece requires you to follow certain steps. Here’s what you need to do to write a literary essay:

Preparing for Your Essay 

The pre-writing process for writing a literary analysis essay includes the following:

• Choosing a literary work to analyze
• Reading and analyzing the work
• Taking notes and organizing your thoughts
• Creating an outline for your essay

Choosing a Work to Analyze 

As a student, you would most probably be assigned a literary piece to analyze. It could be a short story, a novel, or a poem.  However, sometimes you get to choose it yourself.

In such a case, you should choose a work that you find interesting and engaging. This will make it easier to stay motivated as you analyze the work and write your essay.

Moreover, you should choose a work that has some depth and complexity. This will give you plenty of material to analyze and discuss in your essay. Finally, make sure that your choice fits within the scope of the assignment and meets the expectations of your instructor.

Reading and Analyzing 

Once you’ve chosen a literary work, it's time to read the work with careful attention. There are several key elements to consider when reading and analyzing a literary work:

• Plot - The sequence of events that make up the story. Analyzing the plot involves examining the structure of the story, including its exposition, rising action, climax, falling action, and resolution.
• Characters - The people or entities that populate the story. Analyzing characters involves examining their motivations, personalities, relationships, and development over the course of the story.

Want to learn more about character analysis? Head to our blog about how to conduct character analysis and learn easy steps with examples.

• Setting - The time, place, and environment in which the story takes place. Analyzing the setting involves examining how the atmosphere contributes to the story's overall meaning.
• Theme - The underlying message or meaning of the story. Analyzing themes involves examining the work's central ideas and how they are expressed through the various elements of the story.

Moreover, it's important to consider the following questions while analyzing:

• What is the central theme or main point the author is trying to make?
• What literary devices and techniques has the author used?
• Why did the author choose to write this particular work?
• What themes and ideas are present in the work?

These questions will help you dive deeper into the work you are writing about.

Take Notes and Gather Material 

As you read and analyze the literary work, it's important to take notes so you don’t forget important details and ideas. This also helps you identify patterns and connections between different elements of the piece.

One effective way to take notes is to list important elements of the work, such as characters, setting, and theme. You can also use sticky notes, highlighters, or annotations to mark important passages and write down your ideas.

Writing Your Literary Analysis Essay 

Once you have read a piece of literature and taken notes, you have all the material you need to write an essay. Follow the simple steps below to write an effective literary analysis essay.

Create an Outline for Your Essay 

Firstly, creating an outline is necessary. This will help you to organize your thoughts and ideas and ensure that your essay flows logically and coherently.

This is what your literary essay outline would look like: 

Writing the Introduction 

Writing your essay introduction involves the three following parts:

• Begin the introductory paragraph with an engaging hook statement that captures the readers' attention. An effective hook statement can take many different forms, such as a provocative quote, an intriguing question, or a surprising fact. 

Make sure that your hook statement is relevant to the literary work you are writing about. Here are a few examples of effective hooks:

• Afterward, present the necessary background information and context about the literary work. For instance, 
• Talk about the author of the work or when and where it was written. 
• Give an overview of the work or why it is significant. 
• Provide readers with sufficient context so they can know what the work is generally about.
• Finally, end the introduction with a clear thesis statement . Your thesis statement should be a concise statement that clearly states the argument you will be making in your essay. It should be specific and debatable, and it should provide a roadmap for the rest of your essay.

For example, a thesis statement for an essay on "Hamlet" might be: 

Watch this video to learn more about writing an introduction for a literary analysis essay:

Writing the Body 

Here are the steps to follow when writing a body paragraph for a literary analysis essay:

• Start with a topic sentence: 

The topic sentence should introduce the main point or argument you will be making in the paragraph. It should be clear and concise and should indicate what the paragraph is about.

• Provide evidence: 

After you have introduced your main point, provide evidence from the text to support your analysis. This could include quotes, paraphrases, or summaries of the text.

• Explain and discuss the evidence:

Explain how the evidence supports your main point or argument or how it connects back to your thesis statement.

• Conclude the paragraph: 

End the paragraph by relating your main point to the thesis and discussing its significance. You should also use transitions to connect the paragraph to your next point or argument.

Writing the Conclusion 

The conclusion of a literary analysis essay provides closure to your analysis and reinforces your thesis statement. Here’s what a conclusion includes:

• Restate your thesis statement: 

Start by restating your thesis statement in a slightly different way than in your introduction. This will remind the reader of the argument you made and the evidence you provided to support it.

• Summarize your main points: 

Briefly summarize the main points you made in your essay's body paragraphs. This will help tie everything together and provide closure to your analysis.

• Personal reflections:

The conclusion is the best place to provide some personal reflections on the literary piece. You can also explain connections between your analysis and the larger context. This could include connections to other literary works, your personal life, historical events, or contemporary issues.

• End with a strong statement: 

End your conclusion with a strong statement that leaves a lasting impression on the reader. This could be a thought-provoking question, a call to action, or a final insight into the significance of your analysis.

Finalizing your Essay

You’ve completed the first draft of your literary analysis essay. Congratulations!

However, it’s not over just yet. You need some time to polish and improve the essay before it can be submitted. Here’s what you need to do:

Proofread and Revise your Essay 

After completing your draft, you should proofread your essay. You should look out for the following aspects:

• Check for clarity: 

Make sure that your ideas are expressed clearly and logically. You should also take a look at your structure and organization. Rearrange your arguments if necessary to make them clearer.

• Check for grammar and spelling errors: 

Use spelling and grammar check tools online to identify and correct any basic errors in your essay. 

• Verify factual information:

You must have included information about the work or from within the work in your essay. Recheck and verify that it is correct and verifiable. 

• Check your formatting: 

Make sure that your essay is properly formatted according to the guidelines provided by your instructor. This includes requirements for font size, margins, spacing, and citation style.

Helpful Tips for Revising a Literary Essay 

Here are some tips below that can help you proofread and revise your essay better:

• Read your essay out loud:

Reading your essay out loud makes it easier to identify awkward phrasing, repetitive language, and other issues.

• Take a break: 

It can be helpful to step away from your essay for a little while before starting the editing process. This can help you approach your essay with fresh eyes and a clearer perspective.

• Be concise:

Remove any unnecessary words or phrases that do not add to your argument. This can help to make your essay more focused and effective.

• Let someone else proofread and get feedback: 

You could ask a friend or a teacher to read your essay and provide feedback. This way, you can get some valuable insights on what you could include or catch mistakes that you might have missed.

Literary Analysis Essay Examples 

Reading a few good examples helps to understand literary analysis essays better. So check out these examples below and read them to see what a well-written essay looks like. 

How to Write a Literary Analysis Essay

Literary Analysis Essay Example

Sample Literary Analysis Essay

Lord of the Rings Literary Analysis

The Great Gatsby Literary Analysis

Literary Analysis Example for 8th Grade

Literary Analysis Essay Topics 

Need a topic for your literary analysis essay? You can pick any aspect of any work of literature you like. Here are some example topics that will help you get inspired:

• The use of symbolism in "The Great Gatsby" by F. Scott Fitzgerald.
• The theme of isolation in "The Catcher in the Rye" by J.D. Salinger.
• The portrayal of social class in "Pride and Prejudice" by Jane Austen.
• The use of magical realism in "One Hundred Years of Solitude" by Gabriel Garcia Marquez.
• The role of women in "The Handmaid's Tale" by Margaret Atwood.
• The use of foreshadowing in "Lord of the Flies" by William Golding.
• The portrayal of race and identity in "Invisible Man" by Ralph Ellison.
• The use of imagery in "The Road" by Cormac McCarthy.
• The theme of forgiveness in "The Kite Runner" by Khaled Hosseini.
• The use of allegory in "Animal Farm" by George Orwell.

To conclude,

Writing a literary analysis essay can be a rewarding experience for any student or writer, But it’s not easy. However, by following the steps you learned in this guide, you can successfully produce a well-written literary analysis essay. 

Also, you have got some examples of essays to read and topic ideas to get creative inspiration. With these resources, you have all you need to craft an engaging piece. So don’t hesitate to start writing your essay and come back to this blog whenever you need.

The deadline is approaching, but you don’t have time to write your essay? No worries! Our analytical essay writing service is here to help you out!

At CollegeEssay.org, we have a team of professional and experienced literature writers who can help you craft a compelling literary essay. Our affordable and reliable essay writing website focuses on providing high-quality essays and deliver them timely.

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Frequently Asked Questions

What are the 4 components of literary analysis.

The four main components of literary analysis are: 

• Conflict 
• Characters 
• Setting 

What is the fundamental characteristic of a literary analysis essay?

Interpretive is the fundamental characteristic of a literary analysis essay. 

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Why Are Literary Devices Important?

by  Antony W

September 4, 2021

Used on plots and characters, literary devices can elevate the value of a story and easily prompt reflection on life and society and give readers a clear understanding of a given subject or character.

Given the role they play in writing, the use of literary devices might just be the secret recipe to that A+ paper.

Literary devices used in writing include allegory, allusion, cliffhanger, dramatic irony, satire, personification, simile, motif, imagery, flashbacks, and symbolism.

In this guide, we’ll look at what literary devices are, learn why they’re important, and give you detailed examples that you can incorporate into your writing to make your assignment more comprehensive and interesting to read.

What Are Literary Devices?

Credit: kidsmart

A literary device is a writing technique used by professional writers and students to improve writing.

Since literary devices highlight the most significant details in a piece of writing, it makes it easy for readers to not only connect with the characters in the story but also understand the underlying themes. 

Quite too often, these devices work on intellectual level, although it’s not uncommon to notice some emotional effects from the same.  

There are many literary devices used in writing, from those used at the sentence to the ones that serve an entire piece of writing. Each device serves a unique purpose, and you can use multiple literary devices to communicate with your audience.

Literary devices are easy to integrate into your writing, so you should use them intentionally to add an extra something to your writing.

Given that they deal mostly with sound, meaning, repetition, and description of words and phrases, these devices can create a deeper connection between your audience and your story and elicit emotional reactions in the process.

Why are Literary Devices Important?

For a writer, literary devices allow you to communicate your message from a unique angle. With these devices, you’re able to mention the most important concept in a sentence, a paragraph, or an entire essay . 

If used correctly, literary devices can make it easy for you connect theme and characters and strengthen your narrative.

Literary devices can easily grab readers’ attention and keep them reading your narrative.

Moreover, it makes it easy for them to establish a stronger connection between characters and themes in a narrative on a deeper level because they understand the message you’re trying to communicate.

Different Types of Literary Devices to Use in Your Writing

In the following, we’ll look at examples of literary devices that you can use to make your narratives more engaging.

Use this literary device to simplify large, complex concepts and thematic ideas and themes .

Sometimes, allegories are dark and controversial. But you can distant yourself from an issue, especially if it comes to criticizing sensitive social, economic, and political status.

In other words, you use characters, events, objects, and other relevant elements to describe something in a way your readers can understand.

In the case where you distant yourself from the issue(s) you’re discussing, you can even go as far as to use symbols to uncover a hidden meaning in a story.

Allusion is a powerful literary device for creating relationship to known works. It can reference just about anything provided it helps to develop characters and storylines. In other words, you take a known character from a known story and add some of your own work to it.

Although not a common case, allusions can be somewhat confusing and risky altogether, especially if your readers have no idea what character you’re referring to. That notwithstanding, it can be a powerful literary device if used right.

The key to implementing allusion in your writing is to keep things as simple as possible.  Instead of referring to characters, objects, events, or places in details, just mention them. A mere mention is enough to grab your readers attention and even communicate your message in a better way than you would if you used plain words and phrases.

Anachronism

Anachronism is where an author refers to a character or object in a different time than when it existed. We refer to this as error in chronology.

Educators refer to anachronism as an error in writing. However, sometimes authors use intentionally to add humor, reference a period in history, or comment on a theme such as society and time.

Cliffhanger

Bring the kind of suspense you see in a 2-hour movie flick to writing with a cliffhanger. Besides marking the end in a section of a story, cliffhangers are great for keeping your audience engaged in a story.

Dramatic Irony

Effective in works for literature, film, and television, dramatic irony is where an audience already knows the fate of characters in a story, but the character don’t know the fate of each other.

Foreshadowing

Foreshadowing is a powerful literary device that somewhat indicates the future in an anecdote.

Like flashback, this literary device creates tension, suspense, and sometimes both at the same time.

Since foreshadowing makes your readers crave for more of what’s yet to come, it’s such a powerful literary device to use if you want to keep them glued to your story.

Hyperbole 

Hyperbole is an exaggeration of a statement, which gives more significance on the meaning of that very statement. For example, telling a friend that you haven’t gone to the movies in a coon’s age is a hyperbole.

In its very form, an oxymoron is a figurative approach to language where authors use a combination of words in a non-literal sense to come up with new words or phrases with completely new meanings.

Personification

Rarely do we read a book and not see personification. It’s a powerful writing strategy that give human attributes to non-human objects, with the primary objective being to communicate an idea in a more imaginary and meaningful way.

Satire is a literary device used to make fun of things, places, society, or human nature. Writers use satirical approach through ridicule, exaggerations, or irony.

To be clear, authors don’t use satire to invoke hatred or demean.

Mostly, it’s to elicit humor and drive a social change. It’s so common today that it fits in just about any work of entertainment and art.

About the author 

Antony W is a professional writer and coach at Help for Assessment. He spends countless hours every day researching and writing great content filled with expert advice on how to write engaging essays, research papers, and assignments.

Literary Analysis Essay

Literary Analysis Essay Writing

Last updated on: May 21, 2023

Literary Analysis Essay - Ultimate Guide By Professionals

By: Cordon J.

Reviewed By: Rylee W.

Published on: Dec 3, 2019

A literary analysis essay specifically examines and evaluates a piece of literature or a literary work. It also understands and explains the links between the small parts to their whole information.

It is important for students to understand the meaning and the true essence of literature to write a literary essay.

One of the most difficult assignments for students is writing a literary analysis essay. It can be hard to come up with an original idea or find enough material to write about. You might think you need years of experience in order to create a good paper, but that's not true.

This blog post will show you how easy it can be when you follow the steps given here.Writing such an essay involves the breakdown of a book into small parts and understanding each part separately. It seems easy, right?

Trust us, it is not as hard as good book reports but it may also not be extremely easy. You will have to take into account different approaches and explain them in relation with the chosen literary work.

It is a common high school and college assignment and you can learn everything in this blog.

Continue reading for some useful tips with an example to write a literary analysis essay that will be on point. You can also explore our detailed article on writing an analytical essay .

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What is a Literary Analysis Essay?

A literary analysis essay is an important kind of essay that focuses on the detailed analysis of the work of literature.

The purpose of a literary analysis essay is to explain why the author has used a specific theme for his work. Or examine the characters, themes, literary devices , figurative language, and settings in the story.

This type of essay encourages students to think about how the book or the short story has been written. And why the author has created this work.

The method used in the literary analysis essay differs from other types of essays. It primarily focuses on the type of work and literature that is being analyzed.

Mostly, you will be going to break down the work into various parts. In order to develop a better understanding of the idea being discussed, each part will be discussed separately.

The essay should explain the choices of the author and point of view along with your answers and personal analysis.

How To Write A Literary Analysis Essay

So how to start a literary analysis essay? The answer to this question is quite simple.

The following sections are required to write an effective literary analysis essay. By following the guidelines given in the following sections, you will be able to craft a winning literary analysis essay.

Introduction

The aim of the introduction is to establish a context for readers. You have to give a brief on the background of the selected topic.

It should contain the name of the author of the literary work along with its title. The introduction should be effective enough to grab the reader’s attention.

In the body section, you have to retell the story that the writer has narrated. It is a good idea to create a summary as it is one of the important tips of literary analysis.

Other than that, you are required to develop ideas and disclose the observed information related to the issue. The ideal length of the body section is around 1000 words.

To write the body section, your observation should be based on evidence and your own style of writing.

It would be great if the body of your essay is divided into three paragraphs. Make a strong argument with facts related to the thesis statement in all of the paragraphs in the body section.

Start writing each paragraph with a topic sentence and use transition words when moving to the next paragraph.

Summarize the important points of your literary analysis essay in this section. It is important to compose a short and strong conclusion to help you make a final impression of your essay.

Pay attention that this section does not contain any new information. It should provide a sense of completion by restating the main idea with a short description of your arguments. End the conclusion with your supporting details.

You have to explain why the book is important. Also, elaborate on the means that the authors used to convey her/his opinion regarding the issue.

For further understanding, here is a downloadable literary analysis essay outline. This outline will help you structure and format your essay properly and earn an A easily.

DOWNLOADABLE LITERARY ANALYSIS ESSAY OUTLINE (PDF)

Types of Literary Analysis Essay

• Close reading - This method involves attentive reading and detailed analysis. No need for a lot of knowledge and inspiration to write an essay that shows your creative skills.
• Theoretical - In this type, you will rely on theories related to the selected topic.
• Historical - This type of essay concerns the discipline of history. Sometimes historical analysis is required to explain events in detail.
• Applied - This type involves analysis of a specific issue from a practical perspective.
• Comparative - This type of writing is based on when two or more alternatives are compared

Examples of Literary Analysis Essay

Examples are great to understand any concept, especially if it is related to writing. Below are some great literary analysis essay examples that showcase how this type of essay is written.

A ROSE FOR EMILY LITERARY ANALYSIS ESSAY

TO KILL A MOCKINGBIRD LITERARY ANALYSIS ESSAY

THE GREAT GATSBY LITERARY ANALYSIS ESSAY

THE YELLOW WALLPAPER LITERARY ANALYSIS ESSAY

If you do not have experience in writing essays, this will be a very chaotic process for you. In that case, it is very important for you to conduct good research on the topic before writing.

There are two important points that you should keep in mind when writing a literary analysis essay.

First, remember that it is very important to select a topic in which you are interested. Choose something that really inspires you. This will help you to catch the attention of a reader.

The selected topic should reflect the main idea of writing. In addition to that, it should also express your point of view as well.

Another important thing is to draft a good outline for your literary analysis essay. It will help you to define a central point and division of this into parts for further discussion.

Literary Analysis Essay Topics

Literary analysis essays are mostly based on artistic works like books, movies, paintings, and other forms of art. However, generally, students choose novels and books to write their literary essays.

Some cool, fresh, and good topics and ideas are listed below:

• Role of the Three Witches in flaming Macbeth’s ambition.
• Analyze the themes of the Play Antigone,
• Discuss Ajax as a tragic hero.
• The Judgement of Paris: Analyze the Reasons and their Consequences.
• Oedipus Rex: A Doomed Son or a Conqueror?
• Describe the Oedipus complex and Electra complex in relation to their respective myths.
• Betrayal is a common theme of Shakespearean tragedies. Discuss
• Identify and analyze the traits of history in T.S Eliot’s ‘Gerontion’.
• Analyze the theme of identity crisis in The Great Gatsby.
• Analyze the writing style of Emily Dickinson.

If you are still in doubt then there is nothing bad in getting professional writers’ help.

We at 5StarEssays.com can help you get a custom paper as per your specified requirements with our do essay for me service.

Our essay writers will help you write outstanding literary essays or any other type of essay. Such as compare and contrast essays, descriptive essays, rhetorical essays. We cover all of these.

So don’t waste your time browsing the internet and place your order now to get your well-written custom paper.

Frequently Asked Questions

What should a literary analysis essay include.

A good literary analysis essay must include a proper and in-depth explanation of your ideas. They must be backed with examples and evidence from the text. Textual evidence includes summaries, paraphrased text, original work details, and direct quotes.

What are the 4 components of literary analysis?

Here are the 4 essential parts of a literary analysis essay;

No literary work is explained properly without discussing and explaining these 4 things.

How do you start a literary analysis essay?

Start your literary analysis essay with the name of the work and the title. Hook your readers by introducing the main ideas that you will discuss in your essay and engage them from the start.

How do you do a literary analysis?

In a literary analysis essay, you study the text closely, understand and interpret its meanings. And try to find out the reasons behind why the author has used certain symbols, themes, and objects in the work.

Why is literary analysis important?

It encourages the students to think beyond their existing knowledge, experiences, and belief and build empathy. This helps in improving the writing skills also.

What is the fundamental characteristic of a literary analysis essay?

Interpretation is the fundamental and important feature of a literary analysis essay. The essay is based on how well the writer explains and interprets the work.

Law, Finance Essay

Cordon. is a published author and writing specialist. He has worked in the publishing industry for many years, providing writing services and digital content. His own writing career began with a focus on literature and linguistics, which he continues to pursue. Cordon is an engaging and professional individual, always looking to help others achieve their goals.

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Teaching the Elements of Literature Using Stories from Infancy to Age-appropriate

In a time when "inclusion" is on the tip of education's tongue and "differentiated instruction" is the topic of professional development, teachers need new tools for helping students. In a time when students and parents cannot read, yet everyone is held to the same standard of education, we now need strategies and solutions for the future of the public school classroom. We are creeping into a new era of public education when students of all abilities and learning styles are working together on the same subject matter and in the same classroom framework. We are now living in a "standards" world where teachers and students are held accountable by high-stakes test scores and categorized according to these assessments, not before they learn, but thereafter. Teachers are challenged by a classroom of learners with a broad range of abilities. With this in mind, it is time to differentiate our approach and supplement lessons with innovation.

This unit is not a novel approach to Literary Elements, but takes into consideration the range of student abilities as they enter a new year's work in their English class. There are no assumptions as to what students know or have learned prior to entering the classroom. In fact, the idea behind this unit is to assume that no student is prepared for the grade-appropriate reading and writing they will be assigned. In starting at a lower level and then moving toward the actual standard curriculum, students will either take a deeper look at simple text (as in the case of the advanced student) or study at an uncomplicated level to work toward the higher-level curriculum standards (as in the case of the low-level student). In both scenarios, the learners will undergo somewhat of an equalization strategy prior to learning their age-appropriate material. Suitable steps will be taken to ensure that the more advanced students see the value of going back to basics, and don't condescend toward the material. Consequently, in this approach, there is an individual progression considering each learner's needs, and instruction is differentiated for every special requirement per student and their level of achievement. Also, as in Wiggin's Understanding By Design , this unit unveils and explains the end product expectation prior to beginning the lesson. Thus students are not held to some invisible standard and teachers are not leading their sheep into oblivion.

The goal is to set unambiguous objectives, which are clearly explained, drive varied student abilities onto the same plane, and push students farther than the normal expectation. This can happen because the instructor has made no assumption that they are all at the same level while using standard texts to teach the given curriculum. This unit does teach the curriculum and can certainly be adapted for every grade-level, but moves through a progression of understanding and level of ability prior to getting to the grade-appropriate text. Nonetheless, reading is the primary concern, as well it might be: frequently reading abilities have translated into improved math test scores because of the complex nature of the math questions. My belief is that once students can read at their grade-level, whatever level that may be, they will have a higher success rate in math, science, social studies, and any other pertinent content areas.

All of this is done by using literature from infancy to age-appropriate and passing through different levels of reading expectation on the way. As students gain skills in reading at their level or below, they will transfer those skills to what has been deemed suitable for their grade and year. The particular skill to develop, which is important for readers and writers, is an acute understanding of the Elements of Literature. In this approach, students will grasp the content of a story for comprehension and use prior knowledge of each element to read at every new level and write a story incorporating the elements.

The Student

This unit is targeted at students in middle or high school; but this is not to say that the unit cannot work at any other grade-level. Because somewhere along the educational path, students are not learning at the same rate, by high school each student is on a different reading level. My students are vocational students and with this come several quandaries and tribulations. Vocational students are not tracked into ability level classrooms, as would happen in most comprehensive high schools, which have not adapted the "inclusion" theories. Thus, a diverse learner population is in the same room. Another difficulty is that vocational schools, as in this case, gather their student enrollment from surrounding districts; hence have a populace of students who have learned from many different teaching methods (as districts often have different initiatives and programs). The final supposition concerning the vocational student is that they have moved toward their chosen vocation because of a lack of interest in standard school subjects. This, of course, is not always the case, but may be true for a large number of students. In addition, one must keep in mind that if a student has chosen to go to a vocational school because of this assumed lack of interest in academics, it could be that they are suffering from a learning disorder or special need. These circumstances are often pre-scanned and uncovered, but may not be identified in every student. And so, in the case of the vocational student, we can sometimes assume a learner who is uninterested in academics, with a learning obstacle of some sort, and who has come from and is mixed into a very diverse classroom in terms of prior knowledge and level of ability. I like to use some equalization strategy to gain a beginning point where the lowest level student is comfortable and an ending point at which the most advanced students are challenged. Therefore, this unit can be used in any classroom, but especially those with an inclusive environment and a breadth of students to teach.

All stories contain Elements of Literature, of which most can be found in any and every story—whether spoken word, book, or film. Even when all of the elements are not included in any particular story, some or most are still essential. These elements are usually recognizable to a literate person but often misinterpreted or misunderstood by a novice or learner. When a reader can identify the Elements of Literature, the story is often appreciated at a higher level and leads to a deeper examination of the text. Especially in higher-level literature and analysis, the reader may not comprehend the novel if he or she does not understand the elements therein. Thus, by learning the fundamentals of any story, known as the Elements of Literature to English Language Arts (ELA) instructors, a reader will have a better chance at comprehension and study of every story. With this said, it is quite impossible to learn this skill while studying literature using age-appropriate or higher-level reading. Because this skill is not intrinsic, it cannot be accessed through prior knowledge or applied at every new level. To use this skill in reading, the reader must already possess the ability; the reader must learn the skill using simple texts in which the Elements are easily identified. Once a student understands any given element, they can recall their understanding during any new read .

To teach the Elements of Literature to be used as a crucial reading skill, an instructor must start with an elementary text. Once the reader can identify the elements within a simple story, knowledge can then be transferred to higher-level readings. This works best with traditional children's stories that are time-honored, so that the learner has a level of familiarity with the text, at least by hearsay. Such traditional stories make finding elements simple because they are generally short and uncomplicated in their approach to story telling. For example, the climax in "Little Red Riding Hood" is undoubtedly when the wolf eats the little girl (in one version). In this case, it is undemanding for a reader to comprehend the point of most intensity in the story. Consequently, the reader should begin to have acquired the ability to find climax in other stories and stories new to them as a reader, progressing toward his or her level of ability.

In using an elementary text to discover the elements, the reader may grasp the writer's purpose in creating any portion of the book. With respect to characterization , for example, it is normal for a novelist to spend a great deal of time developing characters . In this leisurely approach, mainly used in a longer text, the reader will have a better understanding of the characters and their motives, but only as the story unfolds. This may provide an obstacle for lower-level readers; as the writer is simply describing a character, the reader is confused and perhaps looking for the building of a plot or rising action . In this case, the reader almost always says, "I don't understand" or "what's happening here?" Nothing is actually "happening," as far as the plot of the story is concerned. This novice reader, if familiar with the Elements of Literature, should be patient and simply read on, soaking in the characterization, while waiting for the actual action to take place. This is often the point at which a novice reader will resist going forward, owing to a lack of understanding and/or appreciation of the writer's style. A perfect example is in The Great Gatsby ; here Fitzgerald spends most of the beginning chapters, in a nine chapter book, by simply characterizing his players. It is not until the final three chapters that any really intense action takes place. Therefore, two thirds of the novel is characterization ; the rest of the elements, frequently the interesting elements, do not occur until the end of the book . A lower-level reader will usually put the book down after chapter two because they "don't understand." What this elementary reader does not "understand" is that no one, reading this novel for the first time, really "understands." It is not until the very end of the book that the reader can grasp the writer's purpose or theme .

If characterization is first taught using simple stories, a beginner might then be more patient during a longer, more complicated text with extended character descriptions. If a learner is shown precisely where characterization occurs within a text which is familiar or easy to that learner, it should then be undemanding for him or her when realizing characterization within a slightly higher-level selection with added onerous content. This learning process must happen in due course to result in steady advancement for the reader; it becomes easier over time . Hence an instructor can first teach characterization as an Element of Literature, using, for example, The Tale of Peter Rabbit. In this very short, very elementary story, the rabbit's character descriptions are easily singled out. Serially, the reader should not follow The Tale of Peter Rabbit with The Great Gatsby . In a gradual approach that develops concrete, fundamental, and transferable understanding, the reader might move from this story to Charlotte's Web and then to James and the Giant Peach. There may be other selections prior to Gatsby , but eventually the novice reader should have an understanding of characterization sufficient to make a higher-level text easier to comprehend and tolerable to examine.

Each element is beneficial in order to understand, to examine, and to achieve an ideal level of comprehension of any story . As the understanding of literary elements increases, the reader's ability to comprehend the text increases thereby. If the reader is able to recognize each element as it occurs, that reader will grasp the author's style and purpose in unfurling each aspect of the story. This knowledge of literary elements can be transferred to any story at every level of reading and comprehension. Once the elements are known, struggling readers can delve into a text that would normally seem complex. Furthermore, novice readers can reallocate their knowledge of the Elements of Literature when writing stories .

The specific goals for teaching a unit on the Elements of Literature 1 have many facets, which can be added to and subtracted from, depending on the desired outcome set by teachers and standards alike. The first objective is that students gain a better understanding of age-appropriate2 literature. This involves the practice of comprehension skills while reading and diving deeper into the interpretation, analysis, and evaluation of text. Additional justification is that reading comprehension is tested by and required by state and federal standards. Understanding the Elements of Literature is a key tool for students' success in becoming better readers and writers. The second objective for this unit is for students to ascend from elementary stories into complicated selections, and in doing so, to apply prior knowledge and transfer skills from one text to the next. The third objective is for students to gain an appreciation of literature in order to become lifelong readers and writers and ultimately thinkers. The aim is to shape a productive member of society and someone who is critical and analytical yet compassionate .

My belief is that if students understand the core and foundation in any and every story, they will then have the ability to potentially read any and every story. Furthermore, in realizing the organization of a story, students will have an easier time creating original stories themselves. Once more, providing a successful completion of this unit, students will read at their age-appropriate level, and therefore meet state standards, find value in learning, and further their own education.

An acceptable strategy must entail some template in which the instructor knows what students should produce as an end result prior to teaching the unit 3 . This end result can be targeted close to the beginning of the unit or as far away as the end of the class or semester, or for any other given time period for teaching the unit. My template, as described below, will be set for a semester's time during one school year, which is divided into two semesters. This specific model has its introduction of the unit at the beginning of the semester with the conclusion of the unit at the end of the semester. With this in mind, the unit can be taught, depending on the particular goals, in any given time period as long as there is some sequential order envisioned for ascending texts and the ideas therein. The only tangible materials that students will need are a place to keep notes and their novel of choice.

Steps Leading to Student Assessments 4

• Explain the unit to the class. Students will understand the expectation and duration of the unit prior to beginning the actual lessons: assign two external projects. The first is for students to choose from a list of grade-appropriate books and produce a reader response specifically analyzing and explaining the literary elements within the text. The second is for students to write a story or narrative, using guidelines and writing prompts, which encompasses the Elements of Literature.
• As time moves on, students take notes during instructional time on the Elements of Literature, touching on each element. They will read several examples of short elementary literature, using the Annotated Reading List for Students (below, under the heading of Resources) as a guide, moving from very basic to age-appropriate . While engaged in reading, as a class, identify each element of literature within the given text for that lesson. This can be done in pairs, groups, or whole class, but must be reported and commented on by students and teacher. Students should be granted a set time each day for reading and/or writing, approximately fifteen minutes towards the beginning of the class period, to work on the 'external' portion of the assignment. The next section of class time is to touch on each element as it appears in the in-class reading. The remainder of the period is used for any other pertinent lesson to be taught according to the curriculum and standards. Differentiate the instructional time and the lesson taught during that time to eliminate student apathy .
• Students should now have some prior knowledge to use and find the elements in slightly more difficult texts, not yet approaching long chapter books.
• This is the step in which the instructor uses some adolescent literature to find more Elements of Fiction.
• Students transfer their acquired knowledge once more, this time using short stories at grade reading level.
• Read a grade appropriate novel, in-class, and touch on each element as it appears in the text.
• Student use the knowledge and notes from in-class learning to mirror this approach to the elements in an essay about the novel they selected to read at the beginning of the unit. Students do not have to be at any particular place in the novel to do this; they may need to look back or monitor their pace more closely .
• Students use prior knowledge of literary elements to write a story, narrative, or personal expository. Prompts provided by the teacher can make this simple for struggling readers or challenging for advanced students.
• Students may then choose to illustrate their story or provide a cover .

Step one is to introduce the unit and describe its objectives to the students so that they will understand what, exactly, is expected of them throughout the duration of the timeframe and in their finished product. This step is an explanation of what will happen over the time allotted for the unit. My unit's end product is due at the end of the semester so that students get a chance to work independently on the projects, managing their own time, and so that instruction is differentiated, as individuals will be working at their own pace. Students should, at this point, have a clear understanding of the purpose, procedures, and expectations of the unit. Students also need to know what materials they are expected to bring to class each day and how the unit will be taught to them, in keeping with the idea that they should know what will happen before it does happen. The theory is, if students are completely clear on their responsibility, they will have less stress in the anticipation of an end result to be assessed. In this step students are told about the note section of a notebook, which they will need each day for class. They will also choose a book from the grade-appropriate list and bring the book to class each day. Instructors may choose to keep all materials in the class, depending on the classroom design and space; this also depends on the nature of the student and their level of responsibility pertaining to belongings, as students have a tendency to "lose" things and often report that "somebody stole it." In addition to the "notes" section of a notebook, I find it beneficial to student organization if they have a writing section for topics in progress. This may be a suggestion or mandatory. I like to assess the notebook as part of the completion of the unit; this is left to the instructor, as it may not be relevant to others' curriculum and standards .

Step Two (See also Lesson Plan One)

This is the initial step in teaching the Elements of Literature. Now that students understand the expectation, they can begin to follow through with the process set forth. In this step the instructor must pick the most elementary of the texts to be taught (see Annotated Reading List for Students to choose from the list or discover something germane). I am inclined to use Sylvester and the Magic Pebble because it is great for plot , the first element necessary for comprehension, and it can be revisited later in the unit for other elements. In teaching plot , it is key to explain plot before reading for its identification. Students must take notes on plot , and understand how it works in the story . First the teacher must provide definitions; this can be done on the blackboard or by any other means for note-taking. Once students have an idea of the progression of a plot for any given story, it is time to read the elementary selection and recognize the story's plot as a whole class or in groups but with the intention to have a class discussion. Because a plot rises to a climax and descends toward the resolution, students are able to diagram the plot of a story providing the rising action, climax, and resolution in an easy to view format. This can be done on a mountain-like graph where students describe all three parts, as in an upside-down "U" or something similar. In fact, students may easily conceptualize the plot if it is explained as an upside-down "U". All told, the function of this step is to read an elementary text to observe examples of plot as they happen, and to realize the importance of a story's design. Students take notes, using real examples, and the process is not lengthy or elaborate. Plus, with a simple text, this only takes a small chunk of class time and produces a skill that can be transferred into the next text.

Now that students understand plot and can see its function in the story, it is time to move to another element, and a text selection which may be slightly more complicated. At this point, it is acceptable, and even desirable, to move slowly . Cat in the Hat may be the next appropriate read. Again, this is elementary but perfect to teach plot for a second time and to add theme or another element. This way one element is reinforced while another is introduced; prior knowledge is applied and a new skill is born. This is also the time to assess the next move in the unit. Should students go straight into something more complicated (not yet grade-appropriate) or move more slowly into the repeat of another elementary selection? This is a question that can only be answered on a class-to-class basis. Unhurried progression is the foundation of the unit. One should not just assume understanding; it does not take too much time to review another elementary text, and a selection should be ready. Any step can be repeated until the students are ready to move forward into the more complicated readings.

Step Four (See Lesson Plan Two)

It is time to move into a slightly more complex text. This is not to say that the students are ready to read an advanced selection and find the elements. At this point, they may only understand a few of the important components of a story; but they are now ready to move toward adolescent literature (if the unit is geared toward high school students). Together as a class, it is time to read something as short as James and the Giant Peach , which is not too difficult, but certainly is not too elementary either.

Again, teacher chooses the focus, determining which elements to study for this step, and thus defines the elements for student-notes prior to reading . The class, as a whole, reads the selection to identify the new elements and provide examples within the new text. This can be done as a whole-class read or in reading groups or by any other means to read the story and study the elements. It is important that the elements be defined prior to the reading and that the students understand what they are searching for. Again, the end result is in place for an expectation and requirement rather than an abstract concept, which may be intangible. At the end of this step, students should be familiar with a few new elements of a story, and able to transfer their knowledge in the next step. It is important to assess, as a class, whether or not to move to the next level or repeat this step. The secret lies in accessing prior knowledge, repetition of the skill, and transfer of new skill-sets; therefore, duplicating the same step is good, not bad.

Step Five (See Lesson Plan Three)

It is now time to read age-appropriate short stories as a whole class. Students should be moving along through their own selection while the group reads various short stories at grade level, prior to getting into the whole-class grade-level novel. Many short stories can be found in the classroom textbook (if available). This guarantees an age-appropriate reading selection and can provide supplemental questions and activities. Again, there is no need to reinvent the wheel, because adequate materials are provided in any standard curriculum.

After reading a few—at least two—short stories at the grade-appropriate level for the students, it is time to read a novel together. Each day, or several days per week, students must be working independently on their own reading and reader response to their own selections. On these days, a period of time will also be dedicated to whole-class reading, as it has been in the past. This time it will be toward the completion of a novel, chosen by the teacher. I may choose to read Speak with ninth graders or The Great Gatsby with eleventh graders. The selection does not matter a great deal, as long as it is approved for the grade level. Progress through the novel should take several forms: teacher should read to students, students can read in groups to each other, or students can read independently. This can be done by giving students the choice or dictating it day by day. As each element appears in the novel, students should comment, discuss, take notes, and answer questions accordingly. They will not be writing a reader's response or analysis of this whole-group read, but will use their learned skills and knowledge when writing about their own selection.

This step in not necessarily the seventh step within the sequence that appears in this unit. This step—the writing of a response—should be in progress throughout the unit's time frame. Students are writing a response to the novel they chose at the beginning of the semester. They write in an allotted period of time per day, while reading or after reading their selected novel. It is at this time (the seventh step) that no more in-class, teacher-led, readings will take place. Students should now have the tools and skills to complete their reading and analysis. I like to give students a loose outline for their composition, wherein the first paragraph is a simple synopsis or summary of their book (maybe a bit about the author), and the second paragraph (and each subsequent paragraph) is an analysis of one Element of Literature found in the text. Therefore, all body paragraphs will be an examination of individual elements. In these paragraphs students will discuss the element, explain how it is used by the author, and give examples of the element from the text. The final paragraph or conclusion is the student's evaluation of the book. This can be an opinion about the text or author, it may be a recommendation for another reader, or something interesting about the author's other novels; this kind of response is certainly not an exact science, and students should be allowed some creative leeway to reach their conclusion. It is in the body paragraphs that students unveil their new awareness and inspection of literary elements. I require at least five paragraphs for this reader response, and thus three elements are to be discussed, but students are not limited to three thereafter.

Again, some of these steps take place simultaneously, and students will be working at different paces; this is not only okay, it is exactly the point of differentiated instructional strategies. Now that students have produced an analysis of the elements, they should then use their knowledge of the elements in the construction of fiction to write an original story. I like to provide some suggestions and guidelines. I provide students with topic choices for their original story, but, again, they are not limited to these topics as long as they have their proposal approved by the instructor. Some of the choices are to write a narrative about their life or a portion of their life, write an original story in the first person, or retell a story from a new perspective (with a new theme or from another character's viewpoint). All of my suggestions force the student to use the first person I so that they can express a point of view as a character within the story. This text-to-self reflection is part of the state standard and is easily assessed when students write stories using first person.

This step is altogether optional and may be assigned as optional for students. I do not give "extra credit," but this lends itself to an extra credit type assignment. I incorporate this for several reasons, one being that my vocational students are very creative by nature and often enjoy such efforts as drawing or constructing something. I propose, then, that students have an option to illustrate their original stories, written in Step Eight. In this assignment, students may choose to make a cover or complement their prose with illustrations, as in some of the selections read along the way. This is an exercise in the Elements of Literature because students must now depict the scenes, plot and characterization through pictures. As I say, this can be optional or mandatory, but should be explained to students prior to the allotted timeframe. This also can be a great way to differentiate instruction for the advanced student who is finished before the others; in this case, they have further work to do while others are catching up or following a normal pace.

Exemplary Lessons

Lesson plan one 5.

This lesson will occur over the period of sixty minutes in a ninety-minute block-period. I never like to use the entire class period for any one thing. I feel that the students need to move through a series of exercises to keep busy and pass the time with less apathy. The half-hour that follows the lesson can be used for any other curriculum need or standard to be taught. This entire unit is taught over time, one semester in my case, and should not encompass whole class periods, for it is not the only thing of importance to students. I dedicate, most days, the first fifteen minutes of class time to individual reading or writing. I call this SSR or Sustained Silent Reading 6 ; the key is silence during this time. It is a differentiated exercise in that not all students will be reading at the same pace or writing at the same pace and they choose what is most important for them at any given time. Prior to this lesson, the only essential step is that students must have chosen a book for their reader response and the teacher must have approved the book. Students must also have a place to keep notes. I approach this by teaching students about organization. I like to see a three-ring binder, and a section for class notes. This component can be accomplished in many ways but must be in place prior to the first lesson on the elements.

At this stage, students really should be reading during SSR. I cannot imagine that a student is ready to write this close to the beginning of the unit. The instructor must monitor progress by moving about the room and watching student behaviors. If students know what is expected and teacher monitors this expectation, success is nearly assured. Today's lesson is on plot and only this single element. In lessons to come, two or three elements may be introduced, but in the beginning it is wise to establish less rather than more. We are now fifteen minutes into our lessons and student must turn to the note-section of their notebook. This next ten to fifteen minutes is teacher-led instruction, with students taking notes and asking questions. In this case, the intention is plot discovery; the teacher puts definitions of plot on the board (or any relevant medium for note taking). The objective for the lesson is that students understand plot as a design of incidents in all fiction writing. This design is explained in detail, in terms of what students should realize, below under the heading "Elements of Literature". This design is exactly what students should observe as they read from the exposition to the resolution . Now that notes are taken and available for further use during the unit, the ninety-minute period is one-third over. The next fifteen to twenty minutes should be spent reading an elementary text, the first of the basic stories to examine. I will use Tony the Tow Truck , by Robert Krauss, which is short enough to read aloud and still leave time to discuss. Students will then diagram the story using the upside-down "U" chart. On the diagram, students will choose which parts of the story are exposition, rising action, crisis, climax, falling action, and resolution. These may be one-sentence discoveries for each part of the plot. Tony the Tow Truck may be reused for characterization in the next lesson, mainly because students are now familiar with the text. Once each student has a diagram—this may take ten minutes or so—this lesson and portion of the block period have concluded. The reading of the text should be done aloud, with the diagram done by partners, and with an additional diagram drawn on the board by the teacher once students have finished. This ensures that all students have the same diagram for their notes and can revisit plot when needed. The remainder of the period is used for another lesson or unit. Alternatively, teachers may have students or pairs of students put their diagram on the board and discuss it; students may switch partners and share; students may work alone and share with a partner, or the teacher can choose any other creative method for this portion of the lesson.

Timetable Breakdown, 90-Minute Block Period 7

• 15 minutes: SSR
• 15 minutes: Plot note taking
• 15 minutes: Read story as whole group
• 15 minutes: Diagram and report findings
• 30 minutes: Additional lesson

Lesson Plan Two

This lesson will occur over the first seventy minutes of a ninety-minutes block period (just as in Lesson Plan One). The objective is for students to see characterization in a work of somewhat more advanced fiction. At this point in the unit, we have moved past the using of elementary texts and have begun to delve into adolescent literature. I will use James and the Giant Peach by Roald Dahl because of its great characterization and descriptions. In the first fifteen minutes of the period students will be given time for SSR; again, they are reading and/or writing, depending on their schedule. This time is teacher-monitored, but at this point in the unit students should keep themselves on task. Once the SSR time is over, it is time to discuss, whole-class, characterization as an Element of Literature. As done for plot, students should take notes from the board in a teacher-led forum. Students need the definitions only, and these should be kept in the "notes" section of their notebooks for further use in the unit. Below, beneath the section headed "Elements of Literature," please find a working definition of characterization. Once students have their notes, it is time to turn to the text and read. This can be done in several ways, and I propose to do it in as many ways as possible. I will read aloud to students, break them into reading partners or reading groups, or have them read silently or take volunteers for reading aloud; this instructional time should also be differentiated. About twenty minutes into reading, it is time to discuss; I prompt the students with a question, such as, which character is the protagonist, and why? I take responses after students jot down their answers. Depending on how far we get in the text, other levels of characterization can be discussed. It is also important to touch on any of the elements which have been taught in previous lessons, as a reinforcement method. I continue with this type of lesson at the beginning of the period each day until the novel is finished. I observe the level of student understanding of characterization, and if they do well I may add another element for study.

Timetable Breakdown, 90-Minute Block Period

• 15 minutes: Characterization note taking
• 25 minutes: Read (several different techniques)
• 15 minutes: Character discussion question and answer
• 20 minutes: Additional lesson

Lesson Plan Three

This lesson incorporates short stories into the unit. Because short stories are "short," it is a great way to begin looking at a grade-appropriate text before reading an entire novel (which is the next segment of the unit). In this case, students can diagram plot as they have done before in "Lesson Plan One," and/or look at every element that has already been covered. It is not assumed that all elements have been introduced at this point, but most of the elements, listed in the section entitled "Elements of Literature," should have been covered at least briefly. The idea behind reading the short story is to introduce and review as many elements as possible, in an age-appropriate format, prior to the novel. I suggest looking for these short stories in the grade-level literature textbook, finding something there that is suitable and has supplementary materials. I will use such titles as "To Build a Fire" by Jack London, "The Euphio Question" by Kurt Vonnegut, and "The Most Dangerous Game" by Richard Connell. I suggest doing three stories using the same approach, which is to read aloud as a group and identify the elements. Students should answer questions, usually provided by the textbook, to ensure comprehension and then answer a set of teacher prepared questions pertaining to the elements. Some questions may be as simple as, "Describe something ironic in 'The Most Dangerous Game'. Why is this irony? What type of irony is this?" Students can work on these questions in pairs, using their notes, and report their findings during an in-class discussion. Some stories may take more than one or two days to complete, but I do not spend an entire class period on this subject matter alone. Also, at this point in the unit it is important, with supervision and prior knowledge of the class's momentum, to spend more time with the difficult elements (irony and satire for example), and simply touch on the others. It is vital to verify student involvement in SSR time at this stage, as students should be writing or finishing their "novels". This is also the point at which SSR time can become teacher-student conference time.

• 25-30 minutes: Introduce and read short story
• 15-25 minutes: Students answer questions for comprehension and Literary Elements
• 15 minutes: Class discussion/note taking
• 0-20 minutes: Additional lesson

Supplementary Lessons 8

• Students do an author study for one of the books read in-class and then do an author study for their own novelist. I have students read a few biographies; then imitate the biographical approach on their own, using some research. This can lead to a presentation.
• Students can read some autobiographies written by the authors of some of the in-class readings. They can then write their own autobiography as a supplement to their story.
• When students write their story they can dedicate it to someone, as many authors do. They can put their own picture on the back cover and illustrate the front cover (using a scanner or computer imaging).
• An in-depth interpretation of a story or two, engaging students to look at political ideology, race, gender, class, and historical context. They can then use these techniques to study their own novel and add a paragraph on this subject matter to their reader response.
• A study in dialogue, how it is used, and the different ways to punctuate characters' voices can be a lesson. Students can choose one way to use dialogue in their own stories and stay consistent with this usage.

Elements of Literature 9

The introductory material, which gives the setting, creates the tone, presents the characters, and presents other facts necessary to understanding the story.

Rising Action

This is a series of events that builds from and during conflict. It begins with the inciting force and ends with the climax.

The conflict reaches a turning point. At this point the opposing forces in the story meet and the conflict becomes most intense. The crisis occurs before or at the same time as the climax.

The climax is the result of the crisis. It is the high point of the story for the reader. Frequently, it is the moment of the highest interest and greatest emotion—the point at which the outcome of the conflict can be predicted.

Falling Action

These are the events after the climax, which close the story.

This is the ending of the story, which rounds out and concludes the action . It can resolve the conflict or close the actions .

Characterization

Major Characters

These are almost always round or three-dimensional characters. They have good and bad qualities. Their goals, ambitions and values change. A round character changes as a result of what happens to him or her. A character that changes inside as a result of what happens to him or her is referred to in literature as a "dynamic" character. A dynamic character grows or progresses to a higher level of understanding in the course of the story.

(table 06.03.02.01 available in print form)

Minor Characters

These characters are almost always flat or two-dimensional characters. They have only one or two striking qualities. Their predominant quality is not balanced by an opposite quality. They are usually all good or all bad. Such characters can be interesting or amusing in their own right, but they lack depth. Flat characters are sometimes referred to as "static" characters because they do not change in the course of the story.

Point of View

First Person

The narrator is a character in the story who can reveal only personal thoughts and feelings and what he or she sees and is told by other characters. He can't tell us the thoughts of other characters.

Third-Person Objective

The narrator is an outsider who can report only what he or she sees and hears. This narrator can tell us what is happening, but he can't tell us the thoughts of the characters.

Third-Person Limited

The narrator is an outsider who sees into the mind of one of the characters.

The narrator is an all-knowing outsider who can enter the minds of more than one of the characters.

Conflict is the essence of fiction. It creates plot . The conflicts we encounter can usually be identified as one of four kinds:

Man versus Man

This conflict pits one person against another.

Man versus Nature

This conflict is a run-in with the forces of nature. On the one hand, it expresses the insignificance of a single human life in the cosmic scheme of things. On the other hand, it tests the limits of a person's strength and will to live.

Man versus Society

The values and customs by which everyone else lives are being challenged. The character may come to an end as a result of his or her own convictions. The character may, on the other hand, bring others around to a sympathetic point of view, or it may be decided that society was right after all.

Man versus Self

Internal conflict. Not all conflict involves other people. Sometimes people are their own worst enemies. An internal conflict is a good test of a character's values. Does he give in to temptation or rise above it? Does he demand the most from himself or settle for something less? Does he even bother to struggle? The internal conflicts of a character and how they are resolved are good clues to the character's inner strength.

Often, more than one kind of conflict is taking place at the same time. In every case, however, the existence of conflict enhances the reader's understanding of a character and creates the suspense and interest that makes us continue reading.

Foreshadowing

This is the author's use of hints or clues to suggest events that will occur later in the story. Not all foreshadowing is obvious. Frequently, future events are merely hinted at through dialogue, description, or the attitudes and reactions of the characters.

Foreshadowing frequently serves two purposes:

• It builds suspense by raising questions that encourage the reader to go on and find out more about the event that is being foreshadowed.
• Foreshadowing is also a means of making a narrative more believable by partially preparing the reader for events that are to follow.

Irony is the contrast between what is expected or what appears to be and what actually is.

Verbal Irony

The contrast between what is said and what is actually meant.

Irony of Situation

This refers to a happening that is the opposite of what is expected or intended.

Dramatic Irony

This occurs when the audience or reader knows more than the characters know.

Tone is the author's attitude, stated or implied, toward a subject. Some possible attitudes are pessimism, optimism, earnestness, seriousness, bitterness, humor, and joy. An author's tone can be revealed through choice of words and details.

Mood is the climate offeeling in a literary work. The choice of setting, objects, details, images, and words all contribute towards creating a specific mood. For example, an author may create a mood of mystery around a character or setting but may treat that character or setting in an ironic, serious, or humorous tone

- A person, place or object which has a meaning in itself but suggests other meanings as well. - Things, characters, and actions can be symbols. - Anything that suggests a meaning beyond the obvious. - Some symbols are conventional, generally meaning the same thing to all readers. For example: bright sunshine symbolizes goodness (or happiness) and water is a symbolic cleanser.

This is the main idea or underlying meaning of a literary work.

Themes may be major or minor. A major theme is an idea the author returns to time and again. It becomes one of the most important ideas in the story. Minor themes are ideas that may appear from time to time.

It is important to recognize the difference between the theme of a literary work and the subject of a literary work. The subject is the topic on which an author has chosen to write. The theme, however, makes some statement about or expresses some opinion on that topic. For example, the subject of a story might be war while the theme might be the idea that war is useless.

Four ways in which an author can express themes are as follows:

• Themes are expressed and emphasized by the way the author makes us feel. By sharing feelings of the main character you also share the ideas that go through his mind.
• Themes are presented in thoughts and conversations. Authors put words in their characters' mouths only for good reasons. One of these is to develop a story's themes. The things a person says are much on their mind. Look for thoughts that are repeated throughout the story.
• Themes are suggested through the characters. The main character usually illustrates the most important theme of the story. A good way to get at this theme is to ask yourself the question, what does the main character learn in the course of the story?
• The actions or events in the story are used to suggest theme. People naturally express ideas and feelings through their actions. One thing authors think about is what an action will "say". In other words, how will the action express an idea or theme?

Figurative Language

• Whenever the author describes something by comparing it with something else, the author is using figurative language.
• Any language that goes beyond the literal meaning of words in order to furnish new effects or fresh insights into an idea or a subject is figurative language.
• The most common figures of speech are simile, metaphor, and alliteration.

Simile is figure of speech, which involves a comparison between two unlike things, usually with the words like or as . Example: The muscles on his brawny arms are strong as iron bands.

Metaphor is a figure of speech, which involves an implied comparison between two relatively unlike things. The comparison is not announced by like or as. Example: The road was a ribbon of moonlight.

Alliteration

Repeated consonant sounds occurring at the beginning of words or within words. Alliteration is used to create melody, establish mood, call attention to important words, and point out similarities and contrasts. Example: wide-eyed and wondering while we wait for others to waken.

Personification

This is a figure of speech, which gives the qualities of a person to an animal, an object, or an idea. It is a comparison, which the author uses to show something in an entirely new light, to communicate a certain feeling or attitude towards it and to control the way a reader perceives it. Example: a brave handsome brute fell with a creaking rending cry—the author is giving a tree human qualities.

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• Literary Terms
• Definition & Examples
• When & How to Write an Essay

I. What is an Essay?

An essay is a form of writing in paragraph form that uses informal language, although it can be written formally. Essays may be written in first-person point of view (I, ours, mine), but third-person (people, he, she) is preferable in most academic essays. Essays do not require research as most academic reports and papers do; however, they should cite any literary works that are used within the paper.

When thinking of essays, we normally think of the five-paragraph essay: Paragraph 1 is the introduction, paragraphs 2-4 are the body covering three main ideas, and paragraph 5 is the conclusion. Sixth and seventh graders may start out with three paragraph essays in order to learn the concepts. However, essays may be longer than five paragraphs. Essays are easier and quicker to read than books, so are a preferred way to express ideas and concepts when bringing them to public attention.

II. Examples of Essays

Many of our most famous Americans have written essays. Benjamin Franklin, Thomas Paine, and Thomas Jefferson wrote essays about being good citizens and concepts to build the new United States. In the pre-Civil War days of the 1800s, people such as:

• Ralph Waldo Emerson (an author) wrote essays on self-improvement
• Susan B. Anthony wrote on women’s right to vote
• Frederick Douglass wrote on the issue of African Americans’ future in the U.S.

Through each era of American history, well-known figures in areas such as politics, literature, the arts, business, etc., voiced their opinions through short and long essays.

The ultimate persuasive essay that most students learn about and read in social studies is the “Declaration of Independence” by Thomas Jefferson in 1776. Other founding fathers edited and critiqued it, but he drafted the first version. He builds a strong argument by stating his premise (claim) then proceeds to give the evidence in a straightforward manner before coming to his logical conclusion.

III. Types of Essays

A. expository.

Essays written to explore and explain ideas are called expository essays (they expose truths). These will be more formal types of essays usually written in third person, to be more objective. There are many forms, each one having its own organizational pattern.  Cause/Effect essays explain the reason (cause) for something that happens after (effect). Definition essays define an idea or concept. Compare/ Contrast essays will look at two items and show how they are similar (compare) and different (contrast).

b. Persuasive

An argumentative paper presents an idea or concept with the intention of attempting to change a reader’s mind or actions . These may be written in second person, using “you” in order to speak to the reader. This is called a persuasive essay. There will be a premise (claim) followed by evidence to show why you should believe the claim.

c. Narrative

Narrative means story, so narrative essays will illustrate and describe an event of some kind to tell a story. Most times, they will be written in first person. The writer will use descriptive terms, and may have paragraphs that tell a beginning, middle, and end in place of the five paragraphs with introduction, body, and conclusion. However, if there is a lesson to be learned, a five-paragraph may be used to ensure the lesson is shown.

d. Descriptive

The goal of a descriptive essay is to vividly describe an event, item, place, memory, etc. This essay may be written in any point of view, depending on what’s being described. There is a lot of freedom of language in descriptive essays, which can include figurative language, as well.

IV. The Importance of Essays

Essays are an important piece of literature that can be used in a variety of situations. They’re a flexible type of writing, which makes them useful in many settings . History can be traced and understood through essays from theorists, leaders, artists of various arts, and regular citizens of countries throughout the world and time. For students, learning to write essays is also important because as they leave school and enter college and/or the work force, it is vital for them to be able to express themselves well.

V. Examples of Essays in Literature

Sir Francis Bacon was a leading philosopher who influenced the colonies in the 1600s. Many of America’s founding fathers also favored his philosophies toward government. Bacon wrote an essay titled “Of Nobility” in 1601 , in which he defines the concept of nobility in relation to people and government. The following is the introduction of his definition essay. Note the use of “we” for his point of view, which includes his readers while still sounding rather formal.

 “We will speak of nobility, first as a portion of an estate, then as a condition of particular persons. A monarchy, where there is no nobility at all, is ever a pure and absolute tyranny; as that of the Turks. For nobility attempers sovereignty, and draws the eyes of the people, somewhat aside from the line royal. But for democracies, they need it not; and they are commonly more quiet, and less subject to sedition, than where there are stirps of nobles. For men’s eyes are upon the business, and not upon the persons; or if upon the persons, it is for the business’ sake, as fittest, and not for flags and pedigree. We see the Switzers last well, notwithstanding their diversity of religion, and of cantons. For utility is their bond, and not respects. The united provinces of the Low Countries, in their government, excel; for where there is an equality, the consultations are more indifferent, and the payments and tributes, more cheerful. A great and potent nobility, addeth majesty to a monarch, but diminisheth power; and putteth life and spirit into the people, but presseth their fortune. It is well, when nobles are not too great for sovereignty nor for justice; and yet maintained in that height, as the insolency of inferiors may be broken upon them, before it come on too fast upon the majesty of kings. A numerous nobility causeth poverty, and inconvenience in a state; for it is a surcharge of expense; and besides, it being of necessity, that many of the nobility fall, in time, to be weak in fortune, it maketh a kind of disproportion, between honor and means.”

A popular modern day essayist is Barbara Kingsolver. Her book, “Small Wonders,” is full of essays describing her thoughts and experiences both at home and around the world. Her intention with her essays is to make her readers think about various social issues, mainly concerning the environment and how people treat each other. The link below is to an essay in which a child in an Iranian village she visited had disappeared. The boy was found three days later in a bear’s cave, alive and well, protected by a mother bear. She uses a narrative essay to tell her story.

VI. Examples of Essays in Pop Culture

Many rap songs are basically mini essays, expressing outrage and sorrow over social issues today, just as the 1960s had a lot of anti-war and peace songs that told stories and described social problems of that time. Any good song writer will pay attention to current events and express ideas in a creative way.

A well-known essay written in 1997 by Mary Schmich, a columnist with the Chicago Tribune, was made into a popular video on MTV by Baz Luhrmann. Schmich’s thesis is to wear sunscreen, but she adds strong advice with supporting details throughout the body of her essay, reverting to her thesis in the conclusion.

VII. Related Terms

Research paper.

Research papers follow the same basic format of an essay. They have an introductory paragraph, the body, and a conclusion. However, research papers have strict guidelines regarding a title page, header, sub-headers within the paper, citations throughout and in a bibliography page, the size and type of font, and margins. The purpose of a research paper is to explore an area by looking at previous research. Some research papers may include additional studies by the author, which would then be compared to previous research. The point of view is an objective third-person. No opinion is allowed. Any claims must be backed up with research.

VIII. Conclusion

Students dread hearing that they are going to write an essay, but essays are one of the easiest and most relaxed types of writing they will learn. Mastering the essay will make research papers much easier, since they have the same basic structure. Many historical events can be better understood through essays written by people involved in those times. The continuation of essays in today’s times will allow future historians to understand how our new world of technology and information impacted us.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

MINI REVIEW article

This article is part of the research topic.

Bridging Chemistry with Biology through Speciation Chemistry in Important Processes Involving Essential and Non-essential Metal Ions: Developed from the ICBIC 2023

Special issue: "Bridging Chemistry with Biology through Speciation Chemistry in Important Processes Involving Essential and Non-essential Metal Ions": Developed from ICBIC 2023 Provisionally Accepted

• 1 University of São Paulo, Brazil
• 2 Rio de Janeiro State University, Brazil

The final, formatted version of the article will be published soon.

In the development of new medicinal or pharmaceutical agents, the presence of isomers is a huge challenge, since the main goal is to obtain the most active compound in high purity and yield. Tautomerism is a phenomenon quite common in biomolecules, that also appears in many drugs, and strategies to control the corresponding desired species and related equilibria conditions leading to an efficient chemical speciation are frequently required. In the literature, there are many reports about the presence of tautomers, despite some papers which do not emphasize properly their occurrence or its importance for the differences verified in biological activity. Herein, a discussion about tautomers, observed both in metalated and non-metalated compounds, and their importance in the biological properties of promising drugs is revisited. Mainly, keto-enol equilibria among imines and hydrazones oxindole derivatives are showcased, based on significant examples, as well as strategies to improve their speciation or to better elucidate their modes of action.

Keywords: chemical speciation, tautomerism, Keto-enol equilibria, Medicinal agents, promising scaffolds

Received: 13 Mar 2024; Accepted: 29 Apr 2024.

Copyright: © 2024 Ferreira, Oliveira and Wegermann. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY) . The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.

* Correspondence: Prof. Ana Maria D. Ferreira, University of São Paulo, São Paulo, Brazil

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