Paragraph Transitions

Professor Crystal Shelnutt

Types of Transitions

1) Standard devices2) Paragraph hooks3) Combinations of 1 & 2

Standard Devices

• Simple and obvious• Specific words and phrases • AWR : Tab 10, 52d (p. 457?)

Standard Devices

Oversimplified Examples:

• Puppies are a nuisance.• They are wonderful. • True, puppies are a nuisance.• Nevertheless, they are wonderful.

Standard Devices

• The project had value.• It wasted time.

• Admittedly, the project had value.• But it was wasted time.

Standard Devices

• He was a brilliant actor.• He often performed miserably.

• He was, to be sure, a brilliant actor.• Yet he often performed miserably.

Standard Devices

• Note on “however”:• The best position for however is nearly always

inside a sentence, between commas:– Good study habits, however, cannot be established

overnight.

Paragraph “Hooks”

• Standard words and phrases are good• They cannot, however, handle the whole

transitional load: they become overused• “Hook” words from the previous paragraph into

the next • Either from the last sentence or even deeper into

the previous paragraph

Paragraph “Hook”

¶ Mark Twain is established in the minds of most Americans as a kindly humorist, a gentle and delight “funny man.” No doubt his photographs have helped promote this image. Everybody is familiar with the Twain face. He looks like every child’s ideal grandfather, a dear old white-thatched gentleman who embodies the very spirit of loving-kindness.

Paragraph “Hook”

• (Standard transition)

¶ But Twain wrote some of the most savage satire ever produced in America . . .

• Abrupt leap from one idea to the next • Mechanical

Paragraph “Hook”

¶ . . . a dear old white-thatched gentleman who embodies the very spirit of loving-kindness.

¶ The loving-kindness begins to look a little doubtful in view of some of his writing. For Twain wrote some of the most savage satire . . .

• The last word of the previous paragraph “hooks” into the first sentence of the next paragraph and provides a point of departure for next idea

Deeper Paragraph “Hook”

¶ . . . a dear old white-thatched gentleman who embodies the very spirit of loving-kindness.

¶ This dear old white-thatched gentleman happens to be the author of some of the most savage satire . . .

• Generally, the last sentence is best place to find your “hook” to get to your next paragraph

Still deeper: The Multiple Hook

¶. . . photographs have helped promote this image. Everybody is familiar with the Twain face . . .

¶ To accept such an image is to betray greater familiarity with the photographs than with the writing. For Twain wrote some of the most savage satire . . .

• Here you have the “double-hook” • The greater the distance, the more likely your

need for multiple words to make the connections clear

A Note on the “Hook”

• Don’t insult your reader by making the connection too clear

• That is, don’t repeat huge sections or whole sentences from the preceding paragraph.

• One or two words will do the job.

The Idea “Hook”

• So far, examples are simple words or phrases• Another variation of the paragraph “hook” is the

idea hook• Principle is the same: hooking into the preceding

paragraph• Instead of repeating an exact word or phrase,

however, you refer to the idea just expressed• Compress that idea into a single phrase

The Idea “Hook”

(Recall our paragraph: Twain as kind, dear, loving)

¶ Such a view of Twain would probably have been a source of high amusement to the author himself. For Twain wrote some of the most savage satire . . .

• Or

¶ Any resemblance between this popular portrait and the man who reveals himself in his writing is purely imaginary. For Twain wrote . . .

The Combination

• Natural, matter of course• Use your sense of what the reader requires for

clarity • Use with your own sense of rhythm and sound in

writing

The Combination

¶ The loving-kindness begins to look a little doubtful, however, in view of . . .

¶ Yet this dear old white-thatched gentleman . . .

¶ But to accept such an image . . .

¶ Such a view of Twain, however, would probably . . .

Some Transitional Phrases

• Admittedly• And• Assuredly• But• Certainly• Clearly, then• Consequently• Even so• Furthermore• Granted

Some Transitional Phrases

• In addition• In fact• Indeed• It is true that • Moreover• Nevertheless• No doubt • Nobody denies• Obviously• Of course

Some Transitional Phrases

• On the other hand• Still• The fact remains• Therefore• Thus• To be sure• True• Undoubtedly• Unquestionably• Yet

Work Cited

• Payne, Lucile Vaughan. The Lively Art of Writing. New York: Penguin, 1965. Print.