how to make paper paragraph writing

Improve Your Paper by Writing Structured Paragraphs

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In academic writing, effective paragraphs serve as building blocks to construct a complex analysis or argument. Paragraphing helps readers to understand and process your ideas into meaningful units of thought.

What do paragraphs do?

Imagine reading this page without paragraph breaks. Paragraphs create order and logic by helping your reader recognize the boundaries where one point ends and another begins.

How long should a paragraph be?

In a first draft, it may make sense to set a goal for length. For example, you can set a goal of writing four to six sentences per paragraph: in that number of sentences you can announce an idea, prove that idea with evidence, and explain why this evidence matters by linking it to the overall goal of your paper.

In the final version of your paper you may have a shorter paragraph or two. Short paragraphs call a lot of attention to themselves, so they can effectively emphasize a point. Too many short paragraphs, however, may indicate that your ideas are not developed with evidence and analysis.

You’ll generally read and write longer paragraphs in academic papers. However, too many long paragraphs can provide readers with too much information to manage at one time. Readers need planned pauses or breaks when reading long complex papers in order to understand your presented ideas. Remember this writing mantra: “Give your readers a break!” or “Good paragraphs give one pause!”

Kinds of sentences in a paragraph

Thinking about paragraphs rigidly in terms of length may lead to formulaic writing. Instead, as you revise your draft think about how each sentence is functioning in your paragraph, and whether your paragraph has sufficient functional sentences to make its point.

Transition sentences guide your reader smoothly from the topic of the preceding paragraph into the topic of your new paragraph. Writers sometimes begin with a transition sentence before introducing the topic of the new paragraph.

A topic sentence states the main idea of a paragraph. Beginning a paragraph with a topic sentence ensures your reader recognizes early in the paragraph what larger idea the paragraph is going to demonstrate. Expert writers may not introduce the topic until the middle or end of the paragraph, and often imply their topics without ever writing a topic sentence.

Body sentences develop the topic of the paragraph. These sentences work to analyze data or quotations, describe a text or event, set up a comparison, showcase evidence, and sometimes they enumerate the logical points for readers to give them a sense of a paper’s bigger picture. In body sentences, you need to consider how much quoted data or evidence will demonstrate or prove your point.

Linking sentences relate back to the paper’s main argument by showing how the idea of that paragraph matches the overall goal of the paper.

Concluding sentences may bring a section to its end before you move on to a new section of the paper.

Some sample paragraphs

Undergraduate art analysis.

Notice how the writer develops the idea in the body sentences, as promised in the first sentence, and concludes her paragraph by offering a keen, close observation of specific details.

In order to understand how Manet’s work echoes or communicates with Titian’s, one must first consider the similarities between their paintings. To begin with, both take a nude woman as the subject. More than that, however, Manet directly copies the composition of Titian’s Venus; the overwhelming similarity in color and the figures’ arrangement in each painting prove this. Both women are lying in the same position with their heads on the left-hand side of the canvas. Both women have their left leg crossed over the right. Both women have flowers and accessories. Other key elements unite these paintings, as well: the arrangement of the sheets on the bed; the green curtains; the servants; and the small animal at the foot of the bed. All these features clearly indicate that Manet echoes Titian. If one stopped at the similarity in the composition, it would appear that both paintings communicate the same thing; both would be a celebration of the beauty of the human figure, and Manet’s voice would have added nothing new to the conversation; it would have no additional meaning besides venerating the masterful work of Titian. ( Used with permission .)

Undergraduate literary analysis

In this paragraph from a 2012 Lewis Prize-winning English essay, UW–Madison undergraduate Abby Becker organizes her sentences savvily. She first transitions her reader into her topic, then introduces the source of evidence for that paragraph before analyzing that source and returning to the topic with the new critical perspective that her analysis suggests.

In order for a political or social revolution to occur, connections must be formed. More means of communication lead to more opportunities to make connections. In Dos Passos’ The 42nd Parallel, J. Ward Moorehouse focuses on making business connections but never forms any relationships. He explains at a party that “he had come down in a purely unofficial way you understand to make contacts” (249). In business and politics, making contacts denotes an impersonal, removed way of dealing with people. This type of communication does not result in connections. Moorehouse’s connections are for his own political personal gain. There may be a connection but no insight or true relationship. Moorehouse views people as a tool to advance his own business and political agendas demonstrating that connections with people are often made out of selfish, egotistical motives.

Magazine profile

From a September 2006 The Atlantic article , by Marshall Poe, describing Jimmy Wales, Wikipedia, and collaborative knowledge. Notice how the first sentence introduces a philosophical issue that the body sentences define and link to both Wikipedia and Wales’s own personality.

Wales was an advocate of what is generically termed “openness” online. An “open” online community is one with few restrictions on membership or posting-everyone is welcome, and anyone can say anything as long as it’s generally on point and doesn’t include gratuitous ad hominem attacks. Openness fit not only Wales’s idea of objectivism, with its emphasis on reason and rejection of force, but also his mild personality. He doesn’t like to fight. He would rather suffer fools in silence, waiting for them to talk themselves out, than confront them. This patience would serve Wales well in the years to come.

From Spontaneous Gestures Influence Strategy Choices in Problem Solving (2011). UW-Madison Psychology Professor Martha Alibali et al. present empirical research on how children use physical gestures to acquire mathematical problem-solving knowledge. Notice the clarity of expression in the first paragraph’s topic sentence: the writer provides sufficient set-up to prepare readers for the data which comes at the end of each paragraph.

We predicted that participants in the gesture-allowed condition would be less likely than participants in the gesture-prohibited condition to generate the parity strategy, because the availability of gesture would promote use of perceptual-motor strategies instead. This was indeed the case; the proportion of participants who used the parity strategy on at least one trial was .74 in the gesture-allowed condition and .91 in the gesture-prohibited condition, _2(1, N = 85) = 4.17, p = .04 (Fig. 1). Once they generated the parity strategy, most participants (89%) used it on all subsequent trials.

Mechanical engineering

From Mounting methodologies to measure EUV reticle nonflatness (SPIE Proceedings 7470, 2009), by the lab of UW–Madison Professor Roxanne L. Engelstad. Notice how Battula et al. signal the practical consequence of their findings and also suggest that another result would be possible depending on further research.

Unfortunately, to map the entire reticle with a single measurement, a 12 in. beam expander is needed. With such a large optical system, the expander must be held rigidly, not allowing it to tip or tilt. Since the UW-CMC mount must remain vertical to be effective, it cannot be used in this scenario. Consequently, the application of this mount is limited. Thus, a number of new designs have been proposed by industry to address the alignment issues and provide for other options, such as automated handling. Three of these designs are described and evaluated in the following sections.

Literary studies

From Dorothy West’s Paradise: A Biography of Class and Color (2012), by UW–Madison Professor Sherrard-Johnson. Notice how the first two sentences give crucial background information in order to set up the topic sentence.

In Contested Waters: A Social History of Swimming Pools in America, Jeff Wiltse examines how U.S. swimming pools were transformed from interracial single-sex spaces in which class and gender were more important than race to “leisure resorts, where practically everyone in the community except black Americans swam together.” His study then follows what he calls the second social transformation—”when black Americans gained access through legal and social protest” and “white swimmers generally abandoned them for private pools.” The various iterations of West’s story, which discuss the span from 1950 to 1980, fall between these two moments in social and legal history. I am particularly intrigued by how the national history of segregated bathing areas informs the local, particular event described by West. Does the exclusion of blacks from the high beach parallel the segregation of public pools? In the early twentieth century, public bathing spaces were notoriously violent. The Chicago Riot in 1919 was touched off when white bathers threw rocks at black teenagers who had drifted into a white beach on Lake Michigan. Northerners’ use of pools during the Progressive era reinforced class and gender but not racial distinction. Working-class folk did not swim with the upper classes, but they were not as concerned about color. Following the Great Migration, the concerns about intimacy and sexuality that have always been latent in conversations about public space (in particular the public space of the pool) were directed at blacks. The peculiar democracy of the beach—in bathing suits it is more difficulty to determine class‐worked against black Americans. Wiltse marks this shift between the years of 1920 and 1940. The social changes that took place during this period shape West’s complex politics. (26)

Legal writing

Former UW–Madison School of Law Professor Arthur F. McEvoy wrote this model paragraph as part of a memorandum on effective writing. Notice that each of the body sentences illustrates and develops the main idea or topic sentence.

The ideal paragraph contains five sentences. The topic sentence almost always comes first and states as clearly as possible the point that the paragraph makes, just as the first sentence of this paragraph did. The three middle sentences of the paragraph follow the topic sentence in some rational order and substantiate it with examples, analysis, or other kind of development; if written clearly, middle sentences may employ conjunctions or subordinate clauses to put across complex ideas without breaking the basic form. Every well-written paragraph ends with a “clincher” sentence that in some way signals completion of the paragraph’s point and places it in context, either by restating the topic sentence, relating the topic back to the thesis of the writing as a whole, or by providing a transition to the paragraph that follows. While good style may require a writer to vary this basic form occasionally, the five-sentence model captures the Platonic essence of the paragraph and most effectively accomplishes its purpose, which is to state a single idea, in sequence, discretely and comprehensively.

Writing Process and Structure

This is an accordion element with a series of buttons that open and close related content panels.

Getting Started with Your Paper

Interpreting Writing Assignments from Your Courses

Generating Ideas for Your Paper

Creating an Argument

Thesis vs. Purpose Statements

Developing a Thesis Statement

Architecture of Arguments

Working with Sources

Quoting and Paraphrasing Sources

Using Literary Quotations

Citing Sources in Your Paper

Drafting Your Paper

Introductions

Paragraphing

Developing Strategic Transitions

Conclusions

Revising Your Paper

Peer Reviews

Reverse Outlines

Revising an Argumentative Paper

Revision Strategies for Longer Projects

Finishing Your Paper

Twelve Common Errors: An Editing Checklist

How to Proofread your Paper

Writing Collaboratively

Collaborative and Group Writing

How to Write an Effective Paragraph

Paragraphs are meant to make reading a text easier. When a writer composes for school or work purposes, paragraphs help promote the brevity, clarity, and simplicity expected of formal writing. Each new paragraph signals a pause in thought and a change in topic, directing readers to anticipate what is to follow or allowing them a moment to digest the material in the preceding paragraph. Reasons to start a new paragraph include

• beginning a new idea,
• emphasizing a particular point,
• changing speakers in dialogue,
• allowing readers to pause, and
• breaking up lengthy text, usually moving to a subtopic.

Once a writer is satisfied with their paragraph content, they take their readers into consideration. They revise and edit to make their paragraphs both engaging and easy to read. Key considerations for revising and editing paragraphs are length, variety, clarity, and transitions.

PARAGRAPH LENGTH

Effective paragraphs vary in length. Paragraph lengths should invite readers in, neither seeming too daunting nor appearing incomplete. Paragraphs of more than one double-spaced page will appear too dense and too long to be inviting. However, short paragraphs can appear choppy and undeveloped. In fact, one-sentence paragraphs are rarely effective. Not only can a one-sentence paragraph seem abrupt, but it can also leave readers puzzled. A sentence that makes a point about a topic will typically need at least one or even more sentences to illustrate and explain that point.

For complex concepts such as those in persuasive essays that demand detailed explanation and supporting evidence, longer paragraphs are necessary. However, when narrating an example or explaining a process, shorter paragraphs will best emphasize the order of ideas or importance of each step.

SENTENCE VARIETY

Most people have experienced a lecture or presentation given by someone who talks in a monotone. It probably puts the audience to sleep. The equivalent of such monotony in writing occurs when sentences have the same structure and the same length. Once the content of the writing is solid, an experienced writer revises, paying attention to sentence variety. Strong paragraphs contain a variety of sentence structures, sentence types, sentence openings, and sentence lengths.

Sentence Structures

One method for gaining sentence variety is to use all of the below sentence structures in your paper.

1. Simple Sentence = one independent clause with no subordinate clause

Music is life itself (Louis Armstrong).

Independent clause

2. Compound Sentence = two or more independent clauses with no subordinate clauses

One arrow is easily broken , but a bundle of ten can’t be broken .

independent clause, [conjunction] independent clause

3. Complex Sentence = one independent clause with one or more subordinate clauses

If you scatter thorns , don’t go barefoot .

subordinate clause, independent clause

4. Compound-Complex Sentence = at least two independent clauses and at least one subordinate clause

Tell me what you eat , and I will tell you [what you are] .

independent clause, [conjunction] independent clause [subordinate clause]

Sentence Types

Another method for adding variety is to use different sentence types:

• Declarative = makes a statement: The echo always has the last word.
• Imperative = makes a demand: Love your neighbor.
•  Interrogative = asks a question: Are second thoughts always wisest?
•   Exclamatory = makes an exclamation: I want to wash the flag, not burn it!

Declarative sentences will naturally be used the most in academic writing. But imperative and interrogative sentences can make the content stronger and add sentence variety. Exclamatory sentences are used rarely in academic writing and professional writing but can occasionally be effective, depending on context, audience, and purpose.

Sentence Openings

Another way to add sentence variety is with sentence openings. Many writers fall into a pattern of starting sentences the same way, generally with the subject of the sentence. Here is a sample of what can be done with the simple sentence “John broke the window.”   The different openings not only add variety, but also create more interesting content.

• Subject : John broke the window.
• Conjunction: But John broke the window.
• Adverb (answers how, when, why):  Afterwards , John broke the window.
• Adverb Clause: While hitting a fly ball in the vacant field, John broke the window.
• Expletive (there, it): There is the window John broke.
• Correlative Conjunction: Either John broke the window with the fly ball or he did not.
• Prepositional Phrase: During the game, John broke the window.
• Infinitive Phrase: To complete the destructiveness of the baseball game, John broke the window.
• Passive Voice: The window was broken by John.
• Participle Phrase: Testing his father’s patience, John broke the window.
• Subordinate Clause: Although John hit a home run, the price was a broken window.
• Inverted Word Order: The window John broke.

Inverted word order should not be overused. But occasional use at an important point where the writer wants to grab the reader’s attention can add surprise and drama as in the following example:

o   Normal Word Order: The Christmas treats, the bright, beribboned presents, and the charitable love of the season are all gone.

o   Inverted Word Order: Gone are the Christmas treats, the bright, beribboned presents, and the charitable love of the season.

Varied Sentence Lengths

A final way to vary sentences is with length. Experienced writers strive to compose sentences that are short, medium, and long in length. They can check sentence length by beginning each sentence of a paragraph on a separate line, so they can scan the lengths. Here is an example:

• Kirilov’s home is described as dark, in part because of his son’s sickness and death, which occurred barely five minutes before Aboguin rings the doctor’s doorbell.
• The entry is dark and the lamp in his drawing room is unlighted, allowing the twilight and the dark September evening to fill the room, relieved only by a light in the adjoining study that lights his books and a big lamp in the dead boy’s bedroom.
• The darkness extends to Kirilov himself.
• Chekhov describes him as having a prematurely gray beard and skin with a pale gray hue.
• His hands are stained black with carbolic acid, marking him as a laborer.
• His dark home and gray appearance exemplify the grayness and monotony of life that characterize his recent loss and years of poverty.

The varied lengths are easy to see at a glance. If the writer decides the paper’s sentences need to be more varied in length, much can be done. For example, clauses can be converted to phrases: Sentence one in the paragraph above could be changed to the following:

• Kirilov’s home is described as dark, in part because of his son’s sickness and death, occurring barely five minutes before.

Sentences can be combined. Sentences three and four above could become the following:

• The darkness extends to Kirilov himself as Chekhov describes him as having a prematurely graybeard and skin with a pale gray hue.

Long sentences can be divided. Sentence two above could become the following:

• The entry is dark, and the lamp in his drawing room is unlighted, allowing the twilight and the dark September evening to fill the room. The darkness is relieved only by a light in the adjoining study that lights his books and a big lamp in the dead boy’s bedroom.

Phrases can become one or two words. Sentence four above could become the following:

• Chekhov describes him as prematurely gray.

These changes do not necessarily make the sentence better, but they serve as good examples of what can be done to change sentence length and add sentence variety.

SENTENCE CLARITY

Sentence clarity requires grammatical correctness; however, mixed constructions, faulty predication, and inconsistent or incomplete comparisons are common causes of garbled sentences that writers must check for when revising and editing.

Mixed Construction

A mixed construction occurs when a sentence begins with one grammatical pattern and concludes with a different grammatical pattern, as if the writer started writing a sentence, was interrupted, and then finished it without referring back to the beginning.

• The fact that our room was hot we opened the window between our beds.
• By not prosecuting marijuana possession as vigorously as crack possession encourages marijuana users to think they can ignore the law.
• Because of the European discovery of America became a profitable colony for Britain.

An easy way to identify mixed constructions is to read a paper backwards, one sentence at a time so that each sentence is isolated.

Faulty Predication

Faulty predication occurs when the predicate of a sentence does not logically complete its subject. Most often, faulty predication involves the verb “to be.” We know that “to be” verbs act like equal signs between the subject and predicate:

• The piano player is skilled.

However, if the predicate is logically inconsistent with the subject, the sentence will confuse readers.

• The power of a skilled piano player is keenly aware of being able to raise strong emotions in listeners. [Can the power of a piano player be keenly aware?]
• Listeners are keenly aware of the power a skilled piano player has to raise strong emotions in listeners. [Now it is the listeners who are keenly aware.]

Inconsistent or Incomplete Comparisons

When making comparisons, the writer must make sure they are consistent and complete.

• Inconsistent: Brownlee’s business proposal is better than Summers. [Brownlee’s business proposal is being compared to Summers, a person.]
• Consistent: Brownlee’s business proposal is better than the one by Summers.
• Incomplete: I was ashamed because my background was so different. [Different from what?]
• Complete: I was ashamed because my background was so different from that of my new co-workers.

Inconsistent and incomplete comparisons are common in speech. Context, facial expression, and body language supply the missing information. But in formal writing, care must be taken to compose clear sentences.

TRANSITIONS

Transitions are one of the methods used to make paragraphs flow smoothly. Transitions are connectors or bridges between thoughts. When the reader knows the relationship between concepts or sentences, the thoughts flow smoothly and the paragraph is easier to read. Writers use both transition words and transition sentences.

Transition Words and Phrases

Transitional expressions work well between sentences when the relationship between sentences is not already evident. Transitional expressions can also be used between paragraphs so that the content of one paragraph leads logically into the next paragraph. In these cases, the transition highlights the relationship that is already clear. If someone reads the word “however,” they know that the next thought will be in contrast to the previous one. The word acts as a bridge explaining the relationship between the two thoughts. If someone reads the word “meanwhile,” they know that the next event is happening at the same time as the event discussed previously. The word explains the simultaneous relationship between the two events.

Example of Transition Words and Expressions

• To Indicate Time Order : in the past, before, earlier, preceding, recently, presently, currently, now
• To Provide an Example : for example, for instance, to illustrate, specifically, in particular, namely, in other words
• To Indicate Results : as a result, consequently, because of, for this reason, since, therefore, thus, accordingly
• To Concede : although, even though, admittedly, granted, while it is true, of course
• To Compare : in comparison, in like manner, in much the same way, likewise
• To Contrast : and yet, but, despite, nevertheless, nonetheless, notwithstanding, however, contrary to, on the other hand
• To Emphasize : above all, undoubtedly, most importantly, moreover, furthermore, without question

Transition Sentences

For more sophisticated transitions between paragraphs, writers use whole sentences. Types of transition sentences include the following:

• Echo Transition : The writer echoes a word, phrase, or idea from the last sentence of one paragraph in the first sentence of the next paragraph. Here is an example:

. . . Throughout the story, the husband’s word is considered law, and the wife barely dares to question it.

This unequal marriage fits perfectly into the historical period of the setting. . .

The italicized phrase echoes the idea in the previous paragraph, providing a bridge to the next paragraph.

• Key Word Transition : The writer repeats key words from one paragraph to the next. Here is an example:

. . . Shirley Jackson shows the uselessness of the lottery and the selfishness of human nature through Mr. Warner’s ignorance.

This selfishness of human nature is shown very clearly through Tessie in the story….

The repetition of key words demonstrates the relationship between the ideas in the two paragraphs.

• Look Backward and Forward : In one or two sentences, the text looks back at the ideas of the preceding paragraph and then looks forward to the ideas in the next paragraph.

…These first two stanzas set up the theme of triumph in life.

In contrast to this victory, stanza three moves to the issue of dying….

In the italicized sentence, the first phrase (“in contrast to this victory’) looks backward at the ideas of the preceding paragraph. The second clause (“stanza three moves to the issue of dying”) looks forward to the ideas in the next paragraph.

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