Although We Hunt the Flame is a contemporary novel, Hafsah Faizal makes use of theatrical techniques to frame the narrative. Structurally, the novel is divided into three “Acts” bookended by an epigraph and an epilogue. The narrative resembles a play, with several scenes evoking classical tragedies.

Firstly, the characters’ arrival on Sharr—a secluded, confined space—resembles players entering a stage. Just like heroes’ fates are orchestrated by divine intervention in classical theater, the protagonists unwittingly follow the plans of the Silver Witch and the Lion of the Night. The characters are manipulated by larger forces and their destiny is often implied to be inevitable. For example, Deen dreams of Sharr before he even learns of the quest and unknowingly predicts his own fate. Both the Silver Witch and Benyamin repeat the same prophecy-like words to Zafira: “You will always find your way, Zafira bint Iskandar” (10, 247), suggesting that her fate is predetermined.

Additionally, the epigraph acts like a Greek chorus, creating dramatic irony as it indirectly references specific plot points: “Love is for children, said the girl. Death is for fools, said the shadow. Darkness is my destiny, said the boy.