Improve Your Paper by Writing Structured Paragraphs
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.
From a September 2006 The Atlanticarticle, 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.
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.
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)
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.
Multiple Trajectories of Islam in Africa
Islam had already spread into northern Africa by the mid-seventh century A.D., only a few decades after the prophet Muhammad moved with his followers from Mecca to Medina on the neighboring Arabian Peninsula (622 A.D./1 A.H.). The Arab conquest of Spain and the push of Arab armies as far as the Indus River culminated in an empire that stretched over three continents, a mere hundred years after the Prophet’s death. Between the eighth and ninth centuries, Arab traders and travelers, then African clerics, began to spread the religion along the eastern coast of Africa and to the western and central Sudan (literally, “Land of Black people”), stimulating the development of urban communities. Given its negotiated, practical approach to different cultural situations, it is perhaps more appropriate to consider Islam in Africa in terms of its multiple histories rather then as a unified movement.
The first converts were the Sudanese merchants, followed by a few rulers and courtiers (Ghana in the eleventh century and Mali in the thirteenth century). The masses of rural peasants, however, remained little touched. In the eleventh century, the Almoravid intervention, led by a group of Berber nomads who were strict observers of Islamic law, gave the conversion process a new momentum in the Ghana empire and beyond. The spread of Islam throughout the African continent was neither simultaneous nor uniform, but followed a gradual and adaptive path. However, the only written documents at our disposal for the period under consideration derive from Arab sources (see, for instance, accounts by geographers al-Bakri and Ibn Battuta).
Islamic Influence on African Societies
Islamic political and aesthetic influences on African societies remain difficult to assess. In some capital cities, such as Ghana and Gao, the presence of Muslim merchants resulted in the establishment of mosques. The Malian king Mansa Musa (r. 1312–37) brought back from a pilgrimage to Mecca the architect al-Sahili, who is often credited with the creation of the Sudano-Sahelian building style. Musa’s brother, Mansa Sulaiman, followed his path and encouraged the building of mosques, as well as the development of Islamic learning. Islam brought to Africa the art of writing and new techniques of weighting. The city of Timbuktu, for instance, flourished as a commercial and intellectual center, seemingly undisturbed by various upheavals. Timbuktu began as a Tuareg settlement, was soon integrated into the Mali empire, then was reclaimed by the Tuareg, and finally incorporated into the Songhai empire. In the sixteenth century, the majority of Muslim scholars in Timbuktu were of Sudanese origin. On the continent’s eastern coast, Arabic vocabulary was absorbed into the Bantu languages to form the Swahili language. On the other hand, in many cases conversion for sub-Saharan Africans was probably a way to protect themselves against being sold into slavery, a flourishing trade between Lake Chad and the Mediterranean. For their rulers, who were not active proselytizers, conversion remained somewhat formal, a gesture perhaps aimed at gaining political support from the Arabs and facilitating commercial relationships. The strongest resistance to Islam seems to have emanated from the Mossi and the Bamana, with the development of the Ségou kingdom. Eventually, sub-Saharan Africans developed their own brand of Islam, often referred to as “African Islam,” with specific brotherhoods and practices.
Local Mixes of Islamic and African Aesthetics
Because of its resistance to the representation of people and animals, the nature of Islam’s interaction with the visual arts in Africa was one in which Islamic forms were accommodated and adapted. Muslim clerics’ literacy and esoteric powers drew scores of converts to Islam. Sub-Saharan Muslim clerics known as marabouts began fabricating amulets with Qur’anic verses, which came to displace indigenous talismans and medicinal packets. These amulets are featured in the design of many traditional African artifacts.
Islam also reinforced the African fondness for geometric design and the repetition of patterns in decorating the surface of textiles and crafted objects. Local weaving may have been transformed with the importation of North African weaving techniques.
Islam has also often existed side by side with representational traditions such as masquerading. Such practices have often been viewed as supplemental rather than oppositional to Islam, particularly when they are seen as effective or operating outside of the central concerns of the faith. An early example of this was noted by Ibn Battuta, the Maghribi scholar who visited Mali in 1352–53 and witnessed a masquerade performance at the royal court of its Muslim king. In many areas of Africa, the coexistence of Islam with representational art forms continues today. But although Islam has influenced a wide range of artistic practices in Africa since its introduction, monumental architecture is the best-preserved legacy of its early history on the continent. Mosques are the most important architectural examples of the tremendous aesthetic diversity generated by the interaction between African peoples and Islamic faith.
Department of the Arts of Africa, Oceania, and the Americas, The Metropolitan Museum of Art