IB English A Literature | 200 Essay Writing Words

This IB English A: Literature vocabulary list gives you 200 words for analysing unseen literary passages and comparing studied works. Each word has a plain-English meaning and a short usage example for essays on poetry, prose or drama.

In Paper 1, SL students analyse one of two unseen literary passages in 1 hour 15 minutes. HL students analyse both passages in 2 hours 15 minutes. In Paper 2, SL and HL students have 1 hour 45 minutes to write a comparative essay on two studied literary works.

The 200-word list

1–20 Close reading across literary forms · 21–40 Narrative and dramatic choices · 41–60 Patterns, themes and tensions · 61–80 Explaining rhetorical choices · 81–100 Explaining what a choice does · 101–120 Taking a position · 121–140 Using evidence and reasoning · 141–160 Connecting ideas · 161–180 Sound and movement · 181–200 Building commentary and argument

Exam requirements · Worked response · Model analysis · Fencing Method · Practice and FAQs · Ten focused practice drills

1–20 Close reading across literary forms

characterisation — the way a work builds a reader’s impression of a character. characterisation through repeated gestures.
diction — word choice considered for its effects. formal diction marks the change in status.
lineation — the division of a poem into lines. lineation delays the revelation.
enjambment — continuation of grammar across a verse line ending. enjambment leaves the action unresolved.
caesura — a strong pause within a line of verse. a caesura interrupts the promise.
volta — a turn in the thought or feeling of a poem. the volta alters the speaker’s stance.
refrain — a phrase or line repeated at intervals. the refrain gathers new significance.
dramaturgy — the construction and organisation of dramatic action. dramaturgy places the revelation near the close.
subtext — an implied meaning beneath the stated words. the subtext of an apparently polite exchange.
tragic — relating to tragedy or to a devastating reversal. a tragic consequence of delayed recognition.
comic — designed to evoke amusement or associated with comedy. comic timing makes the mistake visible.
intertextuality — the way one text draws on or interacts with another. intertextuality reshapes the familiar story.
anachronism — a detail placed in a period to which it does not belong. a deliberate anachronism interrupts the scene.
fragmentation — the division of material into discontinuous pieces. fragmentation makes memory feel incomplete.
compression — the concentration of much material into little space or time. compression gives the scene intensity.
digression — a temporary departure from the main subject or action. a digression reveals an earlier conflict.
polyphony — the presence of several distinct voices or perspectives. polyphony complicates a single explanation.
equivocal — allowing more than one interpretation or giving an uncertain answer. an equivocal closing gesture.
recurrence — the repeated return of a detail or event. the recurrence of locked rooms.
figuration — the use of figures of speech to shape meaning. figuration links memory with weather.

21–40 Narrative and dramatic choices

narrator — the voice that tells a story. an unreliable narrator.
focalisation — the perspective through which events are perceived. focalisation through a child.
perspective — the position or experience from which events are understood. a shift in perspective.
omniscient — able to report knowledge beyond any single character’s view. an omniscient narrative voice.
unreliable — giving an account whose accuracy the reader has reason to question. an unreliable account of the quarrel.
interiority — a character’s inner life as the text presents it. interiority revealed through memory.
monologue — an extended speech by one person. the monologue exposes doubt.
soliloquy — a dramatic speech that reveals a character’s private thoughts. a soliloquy before the decision.
aside — a remark conventionally unheard by some characters onstage. an aside lets the audience share the secret.
dialogue — spoken exchange between characters. clipped dialogue signals hostility.
stagecraft — the choices through which a play is presented on stage. stagecraft makes the distance visible.
blocking — the positioning and movement of performers. the blocking keeps the characters apart.
exposition — the presentation of background information. exposition establishes the family conflict.
foreshadowing — a detail that anticipates something later in the work. foreshadowing makes the ending feel prepared.
flashback — a move to an event earlier than the current narrative moment. a flashback revises the reader’s impression.
pacing — the management of speed and emphasis across a work. slower pacing gives weight to the choice.
ellipsis — an omission of material, sometimes including an interval of time. a narrative ellipsis skips the journey.
retrospection — a backward look from a later moment. retrospection changes the meaning of the incident.
protagonist — the main character whose actions or experience drive the work. a protagonist divided by duty.
foil — a character whose contrast brings another character’s qualities into focus. a confident friend acts as a foil.

41–60 Patterns, themes and tensions

motif — a recurring element that gains significance across a work. a motif of unfinished letters.
symbol — an element that carries meanings beyond its immediate role. the locked door becomes a symbol of exclusion.
theme — a recurring concern or idea developed through a work. a theme of divided loyalty.
ambiguity — the possibility of more than one defensible meaning. ambiguity about the speaker’s motive.
ambivalence — mixed or competing feelings about a subject. ambivalence towards returning home.
alienation — a condition of feeling separated from other people or society. the character’s growing alienation.
belonging — a feeling or condition of being accepted as part of a group. a conditional sense of belonging.
agency — the ability to make choices and act. the ending restores some agency.
constraint — a condition that limits available action. financial constraint shapes the decision.
hierarchy — an arrangement in which people or things have different ranks. a hierarchy maintained through silence.
conformity — action that follows accepted expectations. pressure towards conformity.
defiance — open resistance to a rule or expectation. a brief act of defiance.
complicity — involvement in another person’s wrongdoing. silence suggests complicity.
estrangement — a state of growing distant from someone or something. estrangement between siblings.
disillusionment — loss of a belief or hope after encountering contrary experience. a moment of disillusionment.
repression — the suppression of feelings, memories or action. the repression of anger.
reversal — a change to an opposite direction, fortune or position. a reversal in the final scene.
recognition — a moment of identification or understanding. recognition comes after the decision.
resolution — a settling or conclusion of a conflict or pattern. an uneasy resolution.
continuity — a connection or pattern that persists across change. continuity beneath the apparent break.

61–80 Explaining rhetorical choices

presuppose — treat something as already true before arguing. presuppose that demand is fixed.
syntax — the arrangement of words and phrases within sentences. shorten the syntax.
connotation — a feeling or association a word carries beyond its literal meaning. the connotations of the word home.
denotation — a word’s direct or literal meaning. the denotation of the word vessel.
juxtaposition — placing details near each other so readers notice a relationship or difference. a juxtaposition of two settings.
parallelism — repetition of a similar grammatical pattern. parallelism across three clauses.
anaphora — repetition at the start of successive clauses or sentences. anaphora built around we remember.
antithesis — the balanced placement of opposed ideas. antithesis between promises and results.
analogy — a comparison used to explain a relationship. an analogy to a crowded classroom.
metaphor — a comparison that describes one thing as another. a metaphor of a locked door.
allusion — an indirect reference to something the audience may recognise. an allusion to a founding document.
imagery — language that evokes sensory impressions. imagery of heat and dust.
understatement — deliberately making something seem less important or intense. use understatement to soften criticism.
hyperbole — deliberate exaggeration for emphasis or effect. a deliberate instance of hyperbole.
irony — a meaningful gap between what is stated or expected and what occurs or is meant. the irony of an empty welcome sign.
satire — criticism that exposes faults through ridicule, irony or humour. use satire to expose hypocrisy.
repetition — deliberate recurrence of a sound, word or structure. repetition of the opening phrase.
imperative — a grammatical form used to direct someone to act. an imperative directed at the board.
euphemism — a milder expression substituted for a blunt or uncomfortable one. a euphemism for job cuts.
amplify — make a feature, implication or message stronger or more noticeable. amplify a feeling of urgency.

81–100 Explaining what a choice does

frame — presents an issue through a particular lens. frame the decision as a question of access.
foreground — draws attention to a selected feature or concern. foreground the cost to families.
normalize — presents something as ordinary or expected. normalize asking for help.
legitimize — makes an action or viewpoint seem rightful or acceptable. legitimize a local objection.
humanize — makes a person or group recognisable through individual feelings or experiences. humanize a group through one person’s story.
personalize — connects a general idea to a person’s circumstances. personalize the cost of the proposal.
challenge — calls an existing idea or expectation into question. challenge the audience’s assumptions.
invite — encourages the audience to consider or adopt a response. invite readers to reconsider.
reassure — reduces an audience’s concern or uncertainty. reassure hesitant voters.
pressure — pushes someone towards a choice through expectation or consequence. pressure officials to explain.
unsettle — disturbs an audience’s confidence in an existing belief. unsettle a familiar narrative.
unify — brings different people or ideas into a common group. unify the audience around a goal.
polarize — pushes people or positions further apart. polarize the debate.
exclude — leaves a group or possibility outside the discussion. exclude an alternative viewpoint.
implicate — suggests someone shares responsibility or is involved. implicate officials in the decision.
recast — presents a familiar issue in a new way. recast a delay as a choice.
establish — builds a position, pattern or perception that later choices rely on. establish a shared concern.
sharpen — make a distinction, point or feeling more pronounced. sharpen the contrast between cases.
deflect — moves attention away from a question or criticism. deflect criticism of the proposal.
culminate — reaches a final stage or most important point. culminate in a call to act.

101–120 Taking a position

claim — a statement you want the reader to accept. make a claim.
stance — your position on a question. take a clear stance.
thesis — the central position or interpretation your response develops. support the thesis.
premise — an idea the argument starts from. question the premise.
assumption — something treated as true without being established. test the assumption.
assert — state a position firmly. assert that access matters.
argue — give reasons in support of a position. argue for a trial.
maintain — continue to hold or defend a view. maintain that the policy is fair.
contend — put forward a position that can be challenged. contend that the proposal is workable.
justify — give sufficient reasons for a decision or judgement. justify the expense.
advocate — publicly support an action or change. advocate for reform.
defend — answer criticism of a view or choice. defend a decision.
qualify — limit a statement so it applies only where warranted. qualify the conclusion.
concede — acknowledge a valid point made by the other side. concede that costs may rise.
rebut — answer an opposing claim with reasoning or evidence. rebut the objection.
counterargument — a reasoned objection to a position. address a counterargument.
reservation — a concern that makes agreement incomplete. express a reservation.
distinguish — show what makes two things different. distinguish cost from value.
criteria — standards used to judge something. agree on the criteria.
verdict — a final judgement reached after consideration. reach a verdict.

121–140 Using evidence and reasoning

evidence — information that helps establish a claim. draw on evidence.
example — a specific case that makes a general point clearer. give a concrete example.
illustrate — make an idea clearer through a case or detail. illustrate the difficulty.
demonstrate — show how or why something is true. demonstrate a connection.
substantiate — support a claim with convincing information. substantiate the allegation.
corroborate — provide independent support for an existing account. corroborate the witness’s account.
infer — draw a conclusion from available clues. infer a motive from the wording.
imply — suggest a meaning without saying it directly. imply that change is possible.
interpret — explain what something means in context. interpret a figure in context.
analyse — examine how parts work together. analyse the writer’s choices.
evaluate — judge the strength, quality or value of something. evaluate the proposal.
plausible — reasonable enough to believe given what is known. a plausible explanation.
credible — worthy of belief or trust. a credible source.
relevant — directly connected to the issue being considered. relevant to the question.
sufficient — enough for the purpose or conclusion at hand. sufficient for a limited trial.
representative — typical enough to reflect a larger group. a representative sample.
anecdote — a brief account of a particular incident. open with an anecdote.
limitation — something that restricts what a method or claim can establish. acknowledge a limitation.
contradict — state or show something incompatible with another claim. contradict the earlier finding.
synthesise — combine ideas from separate sources into a new account. synthesise competing accounts.

141–160 Connecting ideas

whereas — introduces a clause that contrasts with another. whereas the first option costs less.
although — introduces a fact that qualifies the main statement. although demand may rise.
however — signals a contrast or change in direction. however, costs remain uncertain.
nevertheless — signals that a point still holds despite a difficulty. nevertheless, the trial could go ahead.
conversely — introduces a contrasting relationship in the reverse direction. conversely, lower demand can free capacity.
similarly — points out a meaningful likeness. similarly, smaller groups need space.
likewise — shows that a similar point applies elsewhere. likewise, evening users need lighting.
consequently — introduces a result of what came before. consequently, the queue grew.
therefore — introduces a conclusion or result that follows. therefore, a trial is justified.
furthermore — adds a supporting point. furthermore, the existing room is free.
specifically — narrows the discussion to a precise detail. specifically, the plan would add two sessions.
instead — signals a replacement or different choice. instead, use the current building.
alternatively — introduces another option. alternatively, change the timetable.
otherwise — indicates what happens under different conditions. book early, otherwise places may fill.
provided — introduces a condition when used with a following clause. provided that staffing is adequate.
despite — introduces something that fails to prevent the main outcome. despite the delay.
unlike — marks a difference between two things. unlike the previous scheme.
respectively — matches items with values in the same stated order. costs were $5 and $8, respectively.
overall — signals a judgement about the whole picture. overall, the benefits are modest.
ultimately — identifies what matters after other factors are considered. ultimately, the decision depends on demand.

161–180 Sound and movement

murmur — a low continuous sound or quiet voice. a murmur behind the door.
rattle — make a series of short hard knocks. windows rattle in the wind.
clatter — make a loud, irregular succession of hard sounds. trays clatter onto the floor.
scrape — rub a surface with a harsh sound or movement. chairs scrape across tiles.
creak — make a prolonged strained sound under pressure. a stair creaks underfoot.
hiss — produce a long sound like escaping air. steam hisses from a valve.
crackle — make a rapid succession of small sharp sounds. dry leaves crackle.
reverberate — continue sounding through repeated echoes. footsteps reverberate in the stairwell.
muffle — make a sound quieter or less distinct. a scarf muffles her voice.
shrill — high and piercing in sound. a shrill whistle.
shudder — shake suddenly and strongly. the old lift shudders.
lurch — move with a sudden uneven motion. the bus lurches forward.
stagger — move unsteadily as though about to fall. stagger under the weight.
swerve — turn suddenly away from a previous direction. swerve to avoid a cyclist.
veer — change direction or course. veer towards the wall.
surge — move suddenly and powerfully forward. a crowd surges towards the exit.
trickle — flow slowly in a narrow stream or a few drops. water trickles down the drainpipe.
seep — pass slowly through a small opening or porous material. rain seeps under the door.
drift — move slowly without an obvious driving effort. smoke drifts above the roofs.
recede — move back or become less strong or noticeable. the lights recede into the distance.

181–200 Building commentary and argument

commentary — reasoning that explains how evidence supports a claim. develop the commentary after a quotation.
warrant — the reasoning that connects evidence to a claim. explain the warrant for the claim.
grounds — the basis or reasons for holding a position. give grounds for a limited trial.
scope — the range of cases a statement or argument covers. limit the scope of the argument.
inference — a conclusion reached from available evidence. draw an inference from the pattern.
deduction — reasoning in which a conclusion follows necessarily from its premises. reach the conclusion by deduction.
generalization — a broad statement drawn from specific cases. a generalization from a narrow sample.
analogue — a comparable case with a similar structure or function. an analogue from a neighboring district.
precedent — an earlier case used as a guide for a later one. cite a legal precedent.
exception — a case to which a rule or pattern does not apply. allow for an exception.
criterion — a single standard for judging something. use reliability as one criterion.
condition — a circumstance required for a claim or proposal to hold. state a condition for success.
implication — what follows from a statement even when left unstated. consider the implication for families.
counterexample — a case that shows a general claim does not always hold. offer a counterexample to an absolute claim.
oversimplification — an explanation that drops important complexity. avoid oversimplification.
falsehood — a statement that is untrue. identify a falsehood in a source.
equivocation — a shift between meanings of a term within a line of reasoning. detect equivocation over the meaning of freedom.
contingent — dependent on a named condition. contingent on reliable funding.
tentative — held provisionally pending stronger evidence. a tentative explanation.
defensible — capable of being supported with sound reasons. a defensible thesis.

What the two IB Literature papers require

Paper 1 asks you to interpret unseen literary writing through close analysis. Use the guiding question to locate a formal or technical feature worth discussing, or use another focused entry point permitted by the guide. The passage might work through a narrator’s distance, a poem’s movement or what is left unsaid onstage. Choose evidence that fits the form.

Paper 2 asks you to choose one of four general questions and compare two literary works studied in the course. Detailed references help establish knowledge and support analysis. The guide does not expect quotations from memory. Check which works are available for Paper 2 under your school’s assessment planning. HL also has a separate coursework essay of 1,200–1,500 words on a studied work.

IB Language A: Literature course overview · IB Language A: Literature assessment guide

Word list · Worked response

Paper 1 practice on subtext and repeated action

Original practice lines. She set two cups on the table. After the kettle clicked, she took one down and wiped the space it had left. Consider how the passage presents a change in expectation.

Setting out two cups makes an absent person part of the scene before the narration names any expectation. The kettle’s click fixes a moment when preparation has finished and waiting can begin. Removing the second cup changes the meaning of the original action. Wiping the space adds a final attempt to erase the visible trace of the expectation. The sequence lets readers infer a decision through ordinary movement.

The interpretation stays within the evidence. The passage does not tell us whether the other person is late, gone or never invited. A second paragraph could compare what the narration lets readers see with what it withholds. It would need to account for how the choice affects what we can reasonably infer.

Word list · Exam requirements · Model analysis

Paper 2 practice comparing forms

Practice question. How do two works use ordinary routines to show a change in relationships? In an invented short story, a character stops setting out a second cup. In an invented play, a family repeats a greeting in every act, but one character eventually refuses to answer.

Both works make a changed routine carry a change in the relationship. The story makes the shift visible through objects and short actions, allowing readers to infer the absence from a cup taken away. The play makes the shift audible through a reply that never comes. Because the audience has heard the same greeting answered in earlier acts, the missing response has the force of a deliberate break.

When using your studied works, identify the earlier pattern and the later change in each. Then explain what the chosen form makes possible. A narrator can delay information until the reader reinterprets an earlier scene. A play can put a silence in front of spectators and let its duration change the exchange.

Word list · Worked response · Fencing Method

How to fence an IB Literature word

1. Base. The gesture carries subtext. 2. Detail. Removing the second cup carries subtext because the other person is absent. 3. Tone. The small gesture suggests a change in expectation. 4. Logic. Since the passage begins with two cups, removing one invites the reader to infer that the character has stopped expecting company. 5. Transfer. A repeated greeting carries a different subtext when it is no longer answered.

Keep the term only if it helps locate an implied meaning. If the text states the feeling plainly, analyse how the direct wording works. If actions, pauses or indirect speech carry the feeling, use the feature to support a reading of the subtext.

The eduKate Fencing Method for Vocabulary

Word list · Model analysis · Practice and FAQs

Timed practice and FAQs

What is the difference between Literature and Language and Literature Paper 1? This Literature paper uses literary passages. The Language and Literature companion guide covers unseen non-literary texts. What about Paper 2? Both courses ask for a comparison of two studied literary works. Do I need exact quotes for Paper 2? The IB guide expects detailed reference to the works and does not expect quotations from memory.

For Paper 1, write one paragraph on the shift in a passage and one on how the form makes it visible. For Paper 2, build two comparative topic sentences with your own works. Use one scene from each work in every planning pair, then choose the evidence that most directly addresses the prompt.

Read a paragraph and remove the technique name. If a reader can still understand which detail matters and why, the commentary is doing its job. If the interpretation falls apart when the label disappears, rebuild the reasoning from a precise word, moment or structural change.

Word list · Fencing Method

Ten focused practice drills

1. Read the poem or passage once for meaning before marking technique. Then locate a change in pace, attention or attitude. The term you choose should help explain that change. A precise description of the words may matter more than a label.

2. Distinguish the narrator from the character whose perceptions shape a scene. A third-person narrator can follow one character closely while withholding what others know. Use an exact detail to explain what that arrangement lets the reader see.

3. Follow a motif through two appearances. The first may be ordinary and the second altered by a decision or memory. Explain what changes the meaning between the two appearances, then connect the shift to the question.

4. Try replacing one word in a practice sentence. If removed becomes hid, the action may imply a wish to conceal. Explain how the actual word leaves room for a different inference. This isolates what diction contributes.

5. Use a commentary verb with a specific object. A line may recast an invitation as a demand. Identify which wording produces the shift. If your sentence says only that a device emphasises the theme, specify which aspect of the theme changes.

6. Develop a comparative thesis from a prompt. Choose a point both works address and one difference in form or effect. Explain why the difference matters. Check that the two works can be discussed under each main point.

7. Distinguish observation from inference. A cup is removed from the table. The action may suggest a decision to stop waiting. State the detail, the possible meaning and any limit on the interpretation. An unexplained motive can be an important feature.

8. Write a whereas sentence comparing the same function across two forms. One work may use a pause to show tension, while another uses a delayed account of a past event. Name what both choices do before explaining the difference.

9. Describe a sensory detail in relation to the scene. A kettle click might divide preparation from waiting. Explain what happens before and after the sound. The placement of a detail can be as important as the atmosphere it produces.

10. Test the final interpretation against a contrary detail. If a character’s silence looks like resignation in one scene and resistance in another, account for the change. A better thesis may name when silence serves each function.

A second Paper 1 workshop on voice and time

Original practice passage. He used to knock twice, even when the door was open. For years I thought it was politeness. Today, when someone knocked once and waited, I heard the difference. Read it for what changes between the remembered habit and the present moment.

The narration initially explains the two knocks as politeness, but the final sentence makes that explanation feel incomplete. The word today moves the reader from a repeated habit to one specific incident. The single knock allows the narrator to notice a pattern that previously seemed unremarkable. The passage leaves the reason for the earlier habit unresolved. Its strongest effect comes from the narrator’s changed attention.

Try analysing the sound before naming a theme. Ask what the repetition establishes, which word marks the shift and what is withheld. Then consider two possible readings. The narrator may miss the person who used to knock, or may be reconsidering the habit for another reason. Decide which claims are supported and where ambiguity remains.

Build a Paper 2 comparison notebook

Select two studied works you are eligible to use. Make a page for a shared question such as how routines shape a sense of belonging. For each work, record an early instance, a later change and one formal choice that connects them. Use page references in your study notes so you can revisit details and check your memory.

Draft a paragraph with evidence from both works. The comparison should explain the relationship between choices. If one work makes a routine audible and another makes it visible, show what the reader or audience can infer from each. Then write a second paragraph that changes the point of comparison, such as whose understanding changes first.

Before attempting a full response, read your two topic sentences together. If they say the same thing in different words, give each a distinct question to answer. One can explain how the routine is established. The other can explain what changes when the routine breaks. This gives the essay a developing argument.

Next reading

GRE Analyze an Issue · EIKEN Grade 1 · EIKEN Grade Pre-1

IB English A: Language and Literature essay vocabulary · ACT Writing essay vocabulary · Back to the 200-word list

Top 200 Vocabulary Word List for IB English A: Literature | Essay Writing