Writing Paragraphs

A distinct division of written or printed matter that

begins on a new, usually indented line, consists of
one or more sentences, and typically deals with a
single thought or topic or quotes one speaker's
continuous words.

From Greek word, “paragraphos.” Means a line

showing a break in sense or a change of speakers
in a dialogue
Goals
 Attendees should
 Have a better idea about when to paragraph

 Learn strategies for writing a unified paragraph

 Better understand what makes a coherent

paragraph
 Learn methods for organizing paragraphs

 Learn about how transitions contribute to a

better paragraph
When to Paragraph
 Whenever you move from one major point to another.

During the past fifteen years, I have also worked closely with writing
centers, watching them evolve from places which emphasize skills and drills
to places which provide sophisticated and supportive counseling about the
range of writing processes. While my education is far from complete, I have
learned what you too must know: that teaching writing is teaching re-writing.
During that time, however, I have also learned that for novice writers,
learning to re-write is an alien activity that doesn’t come easily
....
In contrast, I am convinced that revision is the primary way that both
thinking and writing evolve, mature, and improve (156).

From “Responding to Texts: Provocative Revision” by Toby Fulwiler. St. Martin’s Handbook for Writing Tutors 3 rd ed.
Eds. Christina Murphy and Steve Sherwood.
When to Paragraph (cont.)
 Whenever you move your readers from one time period or location
to another.

These classical rhetoricians all agree that style must include clarity,
propriety, and elegance. . . . Aristotle, Cicero, and Quintilian defined style
in terms of its functions. They generated taxonomies of stylistic devices
and classifications of language levels which supported a perspective of
style as a number of rhetorical enhancements and a level of gracefulness.
Of the contemporary definitions of style, Richard Ohmann’s is one of the
broadest—“A style is a way of writing” (135). Style, for Ohmann simply
means that another writer would have written a particular work in a different
way (3).

From “Style, Definition, and the Teachable” (2000) by Carol Mohrbacher

When to Paragraph (cont.)
 Whenever you introduce a new step in a process or sequence.
First she asked herself , “Is there a problem?” Her visit to Earl
Grey only confirmed to her that the client had a problem that
needed to be solved . . . .
Second, she began answering the question, “What is the
problem?” The RFP seemed to be suggestiong that Earl grey
needed more office space. . . .
Finally, she began thinking about what kind of proposal she
would need to write. It seemed as though the people at Earl Grey
had a pretty good grasp of their problem (25).

From Writing Proposals: Rhetoric for Managing Change by Richard Johnson-Sheehan.

When to Paragraph (cont.)
 When you want to emphasize an important idea.
He is at this time transporting large Armies of foreign Mercenaries to
complete the works of death, desolation, and tyranny, already begun with
circumstances of Cruelty & Perfidy scarcely paralleled in the most barbarous ages,
and totally unworthy the Head of a civilized nation.
He has constrained our fellow Citizens taken Captive on the high Seas to
bear Arms against their Country, to become the executioners of their friends and
Brethren, or to fall themselves by their Hands.
He has excited domestic insurrections amongst us, and has endeavoured to
bring on the inhabitants of our frontiers, the merciless Indian Savages whose known
rule of warfare, is an undistinguished destruction of all ages, sexes and conditions.

From the Declaration of Independence

When to Paragraph (cont.)
 Every time a new person speaks (dialogue).

He replied with some asperity, “It might surprise you what them
beasts can pull through.”
“When they get started?” she asked.
“He smiled for a second. “Yes. When they get started.
“Well,” said Elisa, “I think you’ll save time if you go back to the
Salinas road and pick up the highway there” (362).

From “The Chrysanthemums” by John Steinbeck in Literature: An Introduction to Reading and Writing 2nd Compact Ed. Eds. Edgar V.
Roberts and Henry E. Jacobs
When to Paragraph (cont.)
 To signal the end of your introduction and the beginning of your
conclusion.

Also, if it is as important to Sally as she says it is to establish a

rapport with writers, did she do enough to call attention to what Portia
did right in her essay? . . . . Did Sally recognize these qualities in
Portia’s writing or was Sally blinded to them because she felt
defensive and threatened? [End of the body of the essay; conclusion
follows]
Writing center sessions are dynamic and unpredictable events.
Like a theatrical production, at any moment the plot can take a hairpin
turn, leading writers and tutors to unexpected revelations or disastrous
endings. There’s one major difference, though, between the theater
and the writing center: in real-time sessions, there is no script (22).

From A Tutor’s Guide: Helping Writers One to One 2nd Ed. by editor Ben Rafoth.
 Parts of a Paragraph

Topic
Topic sentence :
Sentence: States the main idea of the
paragraph. It tells the reader what the paragraph will be about.
A good topic sentence does two things: 1. It names a subject
2.) It give the focus or main point
Ex: Subject: Egypt Main Focus: Religion
Ex: Subject: Egyptian Religion Main Focus: Gods

Supporting Details:Sentences that are connected to

the main idea. They include information or details the reader
needs in order to understand the topic. Sentences should be
ordered in the best possible order. 3 main ways to do this is
either by time, location or importance.

Closing Statement:Sums up the paragraph’s

message. It reminds the readers of the topic.
 Topic
Sentence

D The ancient Egyptians believed in many different gods and

goddesses and each one had their own role to play in
E maintaining peace and harmony across the land. Some
T gods and goddesses took part in creation. Other gods and
A goddesses brought the flood every year. Some offered
I protection, and some took care of people after they died.
L Egyptians had local gods who represented towns, and minor
gods who represented plants or animals. The ancient
S Egyptians believed that it was important to recognize and
worship these gods and goddesses so that life continued
smoothly. Closing Statement
How to Unify Paragraphs
 Develop a single idea.
 Use topic sentences that state the main idea of the
paragraph.
 Other sentences should support the idea expressed
in the topic sentence.
 For support, use examples, data, or logical
progression.
Example of Unified Paragraph
(topic sentence at beginning—the most common method)
(

I was a listening child, careful to hear the very different

sounds of Spanish and English. Wide-eyed with hearing, I’d
listen to sounds more than words. First there were English
(gringo) sounds. So many words were still unknown that
when the butcher or the lady at the drugstore said something
to me, exotic polysyllabic sounds would bloom in the midst of
of their sentences. Often the speech of people in public
seemed to me very loud, booming with confidence. The man
behind the counter would literally ask, “What can I do for
you?” But by being so firm and so clear, the sound of his voice
said that he was a gringo; he belonged in public society.

--Richard Rodriguez, Aria: A Memoir of a Bilingual Childhood

 Topic
Sentence
Example of Non-Unified Paragraph
The ancient Egyptians believed in many different gods and
D
goddesses and each one had their own role to play in
E maintaining peace and harmony across the land. Some
T gods and goddesses took part in creation. Other gods and
A goddesses brought the flood every year. Some offered
I protection, and some took care of people after they died.
Egyptians had local gods who represented towns, and minor
L
gods who represented plants or animals. However, Islam is
S strictly against polytheism. They firmly believe in the Oneness
of God. The ancient Egyptians believed that it was
important to recognize and worship these gods and Non-unified
goddesses so that life continued smoothly.
Writing Coherent Paragraphs
 Organize paragraphs appropriately.

 Use transitional words and phrases

between paragraphs and sentences, if
necessary
 Adequate development

 The topic sentence should be

discussed fully and adequately.
 This varies from paragraph to
paragraph, depending on the author's
purpose,
 Writers should be cautious of
paragraphs that only have two or three
sentences.
 A pretty good bet that the paragraph is
not fully developed if it is that short.
 Some Methods
 Use examples and illustrations
 Cite data (facts, statistics, evidence, details, and
others)
 Use an anecdote or story
 Define terms in the paragraph
 Compare and contrast
 Evaluate causes and reasons
 Examine effects and consequences
 Analyze the topic
Paragraph Without Transitions
Napoleon certainly made a change for the worse by
leaving his small kingdom of Elba. He went back to
Paris, and he abdicated for a second time. He fled to
Rochefort in hope of escaping to America. He gave
himself up to the English captain of the ship
Bellerophon. He suggested that the Prince Regent
grant him asylum, and he was refused. All he saw of
England was the Devon coast and Plymouth Sound
as he passed on to the remote island of St. Helena.
He died on May 5, 1821, at the age of fifty-two. Thus,
It was a disastrous decision from Napoleon to
relinquish Elba.
Paragraph With Transitions
Napoleon certainly made a change for the
worse by leaving his small kingdom of Elba. After
Waterloo, he went back to Paris, and he abdicated
for a second time. A hundred days after his return
from Elba, he fled to Rochefort in hope of escaping
to America. Finally, he gave himself up to the
English captain of the ship Bellerophon. Once
again, he suggested that the Prince Regent grant
him asylum, and once again, he was refused. In the
end all he saw of England was the Devon coast and
Plymouth Sound as he passed on to the remote
island of St. Helena. After six years of exile, he died
on May 5, 1821, at the age of fifty-two.

--Norman Mackenzie, The Escape from Elba

Frequently Used Transitions
To Signify Sequence or Addition
again, also, besides, first . . .second . . .third, furthermore,
In addition, moreover, one . . . another, too

To Signal Time
afterward, as soon as, at first, at the same time, before, earlier,
finally, in the meantime, later, meanwhile, next, now, soon,
subsequently, then, until

To Signal Comparison
also, by the same token, in comparison, likewise, similarly

To Signal Contrast
although, but, despite, even though, however, in contrast, instead,
Meanwhile, nevertheless, nonetheless, on the contrary, on one hand . . .
on the other hand, still, whereas, yet, conversely
More Transitions
To Introduce Examples
for example, for instance, namely, specifically, thus

To Signal the Narrowing of Focus

after all, indeed, in fact, in other words, in particular, specifically, that is

To Introduce Conclusions or Summaries

as a result, consequently, in conclusion, in other words, in summary
therefore, thus, to conclude, finally

To Signal Concession to Another Perspective

admittedly, certainly, granted, naturally, of course

To Introduce Causes or Effects

accordingly, as a result, because, consequently, hence, since, so, then, therefore