#literarydevices

FEAR

DEFINITION: To be afraid of; to expect threat or danger

PHYSICAL SIGNALS AND BEHAVIORS:

Face turning ashen, white, pallid Hair lifting on the nape and arms Body odor, cold sweats Clammy hands Trembling lips and chin Tendons standing out in the neck, a visible pulse Elbows pressing into the sides, making one's body as small as possible Freezing, feeling rooted to the spot Rapid blinking Tight shoulders Staring but not seeing, eyes shut or crying Hands jammed into armpits or self-hugging Breath bursting in and out Leg muscles tightening, the body ready to run Looking all around, especially behind A shrill voice Lowering the voice to a whisper Keeping one's back to a wall or corner Shaking uncontrollably Gripping something, knuckles going white Stiff walking, the knees locking Beads of sweat on the lip or forehead Grabbing onto someone Eyes appearing damp and overly bright Stuttering and mispronouncing words, tremors in the voice Jerky movements, squirming Licking the lips, gulping down water Sprinting or running Sweeping a hand across the forehead to get rid of sweat Gasping and expelling one's breath as if pained Uncontrollable whimpering Pleading, talking to oneself Flinching at noises

INTERNAL SENSATIONS:

An inability to speak Shakiness in the limbs Holding back a scream or cry Heartbeat racing, nearly exploding Dizziness, weakness in the legs and knees A loosening of the bladder Chest pain Holding one's breath, gulping down breaths to stay quiet A stomach that feels rock hard Hyper-sensitivity to touch and sound Adrenaline spikes

MENTAL RESPONSES:

Wanting to flee or hide The sensation of things moving too quickly to process Images of what-could-be flashing through the mind Flawed reasoning Jumping to a course of action without thinking things through A skewed sense of time

CUES OF ACUTE OR LONG TERM FEAR:

Uncontrollable trembling, fainting Insomnia Heart giving out Panic attacks, phobias Exhaustion Depression Substance abuse Withdrawing from others Tics (a repetitive grimace, a head twitch, talking to oneself) Resistance to pain from rushing adrenaline

MAY GROW INTO:

ANGER, TERROR, PARANOIA, PANIC, DREAD

CUES OF SUPPRESSED FEAR:

Keeping silent Denying fear through diversion or topic change Turning away from the cause of the fear Attempting to keep one's voice light A watery smile that's forced into place Masking fear with a reactive emotion (anger or frustration) False bravado Over-indulgence in a habit (nail biting, lip biting, scratching the skin raw) A joking tone, but the voice cracks

MAY TAPER-OFF TO:

AGITATION, OVERWHELMED, WARINESS, UNEASE

POWER VERBS:

Humiliation

DEFINITION:

Feeling degraded or mortified, worthless or cheap

PHYSICAL SIGNALS AND BEHAVIORS:

Body collapsing in on itself A bowed head Shoulders curling over chest Angling torso away from others Uncontrollable shuddering or shivering Hair hanging in face, hiding the eyes A downward gaze A flushed face Hitching chest Eyes dull, lifeless Pulling down a shirt hem (covering gesture) Body shielding (if holding onto an object) Hands clutching at stomach Covering face with hands Bottom lip or chin trembling Whimpering Throat bobbing Arms falling to sides, lifeless Uncontrolled tears Flinching at noise or from being touched Huddling, crouching Trying to cover body with hands Neck bending forward Movement is slow, jerky Knees locked tight together A loss of coordination Cold sweat Stumbling, staggering Backing up against a wall, sliding into a corner, hiding Visible tremors coursing through the body Hands gripping elbows Pigeon toes (tilted inward) Sobs trapped in throat Drawing knees up to the body's core Wrapping arms around self Runny nose

INTERNAL SENSATIONS:

Weakness in legs Sluggish heartbeat Pain in chest Rapid swallowing Dizziness, a sense of vertigo Ribs squeezing Body feels broken Skin tightens (crawls) Loose muscles Hot eyes and cheeks Nausea

MENTAL RESPONSES:

Self-loathing Shattered thoughts A feeling of nakedness, of being on display A need to hide or flee that supersedes all else Wanting it to end at all costs

CUES OF ACUTE OR LONG TERM HUMILIATION:

Curling up on the floor Hiding behind something, against something Crying, blubbering, hitching sobs Willingness to escape by any means A desire to die, for the emotional pain to end

MAY GROW INTO:

DEPRESSED, POWERLESSNESS, REGRET, SHAME, ANGER, HATRED, SELF-LOATHING

CUES OF SUPPRESSED HUMILIATION:

Numbness in mind and body Becoming passive and disengaged Closing off all thoughts of what is happening Not speaking or making any sound Sending the mind “somewhere else” A disconnect between the mind and body

MAY TAPER-OFF TO:

EMBARRASSMENT, INSECURITY, VULNERABILITY

POWER VERBS:

Let Your Reader Experience It!

Hey there, literary gardeners!

Today, let's talk about one of the most powerful tools in our writing shed: Showing, not Telling. Now this is one I still struggle with at times. It's like an old crutch I fall back on when I'm drained and not really thinking. But showing, not telling, is the difference between merely describing a plant and letting your reader see, smell, and feel its leaves, its petals, its vibrant life.

"Telling" is like giving your reader a report. "Showing" is like handing them a magnifying glass and letting them discover details for themselves. It draws them into your story, engaging their senses and emotions.

So, are you ready to make your words bloom? Here are some quick ways to shift from telling to showing:

1. Instead of Stating Emotions, Describe Actions & Reactions.

Telling: "He was angry."

Showing: "His jaw tightened, a muscle throbbing in his temple. He slammed the door, the sound echoing through the silent house."

Why it works: You don't just know he's angry; you feel the tension and hear the impact of his rage.

2. Instead of Naming a Trait, Reveal It Through Behavior.

Telling: "She was clumsy."

Showing: "She tripped over his own feet, sending a cascade of papers flying across the room before landing with a soft thud against the bookshelf."

Why it works: We witness her clumsiness in action, making it more memorable and often, more amusing.

3. Instead of Summarizing, Use Sensory Details.

Telling: "The room was messy."

Showing: "Crinkled takeout menus littered the coffee table, battling for space with a stack of unread novels and a single, forgotten coffee mug rimmed with mold."

Why it works: We can almost smell the stale air and see the clutter, painting a vivid picture in our minds.

4. Instead of Announcing the Weather, Show Its Effect.

Telling: "It was cold outside."

Showing: "Frost bitten fingers fumbled with the key, a cloud of breath escaping with every frustrated sigh. The wind bit at his exposed ears, making him shiver uncontrollably."

Why it works: The cold isn't just a fact; it's a physical experience for the character (and the reader).

5. Instead of Describing Appearance, Let Your Character's Style Speak.

Telling: "She was rich."

Showing: "The silk scarf cascaded from her neck, catching the light as she adjusted the delicate gold watch glinting at her wrist, its face adorned with tiny, genuine diamonds."

Why it works: We infer her wealth from the quality and detail of her possessions, rather than being explicitly told.

The Takeaway: Think of your words as seeds. Don't just tell your reader what plant they are; plant them in the ground, water them, and let them grow into something tangible and beautiful right before their eyes!

(and How to Fix It!)

Hey there, fellow gardeners of words!

We've all been here: you want your reader to feel what your character feels, to truly step into their shoes. But sometimes, it's so easy to just tell them. "She was sad." "He was happy." These lines get the job done, but they don't exactly make our hearts ache or soar with the character, do they?

In my experience, the emotion writers struggle with the most is often sadness or grief. It's easy to say "they cried," but how do you make that crying feel unique, raw, and impactful? How do you show the depth of their sorrow without resorting to clichés?

Here's how we can cultivate deeper emotional resonance:

Tips & Examples for Showing Emotion (Especially Sadness!):

1. Body Language is Your Canvas: Our bodies react instinctively to emotion. Use these physical cues!

Instead of: "She was sad."

Show Sadness:

"Her shoulders slumped, as if gravity had suddenly doubled its pull. She traced the rim of her cold coffee cup, eyes fixed on the condensation gathering on the glass."

"He dragged his feet across the floor, each step heavy, leaving a faint scuff mark. His hands were stuffed deep in his pockets, knuckles white."

"Her breath hitched, and she bit the inside of her cheek until she tasted copper, trying to swallow the sudden lump in her throat."

2. Sensory Details: What Do They See, Hear, Smell, Taste, Touch? Emotion can heighten or distort our senses.

Instead of: "He was overwhelmed with grief."

Show Grief:

"The world around him faded into a muted hum, all colors draining to shades of grey. He could only focus on the acrid, metallic tang of tears on his tongue."

"The soft chime of the clock on the mantelpiece echoed like a gong in the sudden, crushing silence. He felt the coarse weave of the armchair dig into his palms as he gripped it tightly."

3. Internal Monologue / Thought Process (Short & Sharp): Show their mind working through the emotion, but don't over-explain.

Instead of: "She felt confused and anxious."

Show Confusion/Anxiety:

"A dozen questions fired through her brain, each one dissolving before she could grasp it. Wait, no, was it...? But then... what about...?"

"His gaze darted around the room, landing on nothing, searching for an answer that wasn't there. His chest felt tight, as if a lead weight had settled on his lungs."

4. Dialogue Tag Actions (Beyond "Said"): How they speak, or don't speak, can show everything.

Instead of: "'I don't know,' he said sadly."

Show Sadness in Dialogue:

"'I don't know,' he whispered, his voice cracking like dry leaves underfoot."

"She shook her head, unable to meet his gaze. 'I don't know.' Her voice was barely a breath."

5. Environmental Interaction / Object Use: How do they interact with their surroundings or objects when feeling this way?

Instead of: "He was frustrated."

Show Frustration:

"He shoved his chair back, the legs screeching against the floor, and began pacing, running a hand roughly through his already dishevelled hair."

"She squeezed the stress ball until her knuckles whitened, a thin, high-pitched squeak coming from the rubber. It wasn't enough."

The goal isn't just to tell your reader, "your character is sad." It's to make them feel the slump in the shoulders, the burning in the eyes, the hollow ache in the chest. It's about planting the seeds of emotion and letting them blossom naturally in your reader's imagination.

How to Get an A in A Level English – Expert Tips for Success

Struggling with A Level English? Learn how to get an A* with the help of Kelly, an award-winning tutor who shares her proven tips and strategies that have led her students to top grades in A-Level English. In this video, Kelly breaks down the key elements that will help you achieve your best results. From understanding your exam board’s criteria to mastering critical thinking and accurate literary terminology, this video has it all.

Key Takeaways:

Understand the assessment criteria for your exam board

Think critically and focus on the impact of literary devices

Accurately identify and explain literary devices and their impact

Plan your essays effectively for clear and organized answers

Dive into context to enhance your essay analysis, especially with works like Shakespeare’s Othello

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