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Paragraph Transitions. Professor Crystal Shelnutt. Types of Transitions. Standard devices Paragraph hooks 3) Combinations of 1 & 2. Standard Devices. Simple and obvious Specific words and phrases AWR : Tab 10, 52d (p. 457?). Standard Devices. Oversimplified Examples: - PowerPoint PPT Presentation
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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.