A paragraph has coherence—or flows—if its details fit together clearly in a way that readers can easily follow. When you arrange information in a particular order (as described in 7d and 8c), you help readers move from one point to another. Regardless of your organization, however, be aware of several other ways to achieve paragraph coherence.
Repeating key words and phrases
Weaving in repeated key words and phrases—or pronouns that point to them—not only links sentences but also alerts readers to the importance of those words or phrases in the larger piece of writing. Notice in the following example how the repetition of the italicized key words and the use of pronouns that refer to those words help hold the paragraph together:
Over the centuries, shopping has changed in function as well as in style. Before the Industrial Revolution, most consumer goods were sold in open-air markets, customers who went into an actual shop were expected to buy something, and shoppers were always expected to bargain for the best possible price. In the nineteenth century, however, the development of the department store changed the relationship between buyers and sellers. Instead of visiting several market stalls or small shops, customers could now buy a variety of merchandise under the same roof; instead of feeling expected to buy, they were welcome just to look; and instead of bargaining with several merchants, they paid a fixed price for each item. In addition, they could return an item to the store and exchange it for a different one or get their money back. All of these changes helped transform shopping from serious requirement to psychological recreation.
Using parallelism
Parallel structures can help connect the sentences within a paragraph. As readers, we feel pulled along by the force of the parallel structures in the following example:
William Faulkner’s “Barn Burning” tells the story of a young boy trapped in a no-win situation. If he betrays his father, he loses his family. If he betrays justice, he becomes a fugitive. In trying to free himself from his trap, he does both.
Using transitions
Transitions are words such as so, however, and thus that signal relationships between sentences and paragraphs. Transitions help guide the reader from one idea to another. To understand how important transitions are in directing readers, try reading the following paragraph, from which all transitions have been removed.
A PARAGRAPH WITH NO TRANSITIONS
In “The Fly,” Katherine Mansfield tries to show us the real personality of the boss beneath his exterior. The fly helps her to portray this real self. The boss goes through a range of emotions and feelings. He expresses these feelings to a small but determined fly, whom the reader realizes he unconsciously relates to his son. The author basically splits up the story into three parts, with the boss’s emotions and actions changing quite measurably. With old Woodifield, with himself, and with the fly, we see the boss’s manipulativeness. Our understanding of him as a hard and cruel man grows.
If we work at it, we can figure out the relationship of these sentences to one another, for this paragraph is essentially unified by one major idea. But the lack of transitions results in an abrupt, choppy rhythm; the paragraph lurches from one detail to the next, dragging the confused reader behind. See how much easier the passage is to read and understand with transitions added.
THE SAME PARAGRAPH WITH TRANSITIONS
In “The Fly,” Katherine Mansfield tries to show us the real personality of the boss beneath his exterior. The fly in the story’s title helps her to portray this real self. In the course of the story, the boss goes through a range of emotions. At the end, he finally expresses these feelings to a small but determined fly, whom the reader realizes he unconsciously relates to his son. To accomplish her goal, the author basically splits up the story into three parts, with the boss’s emotions and actions changing measurably throughout. First with old Woodifield, then with himself, and last with the fly, we see the boss’s manipulativeness. With each part, our understanding of him as a hard and cruel man grows.
Commonly used transitions
TO SIGNAL SEQUENCE
again, also, and, and then, besides, finally, first…second…third, furthermore, last, moreover, next, still, too
TO SIGNAL TIME
after a few days, after a while, afterward, as long as, as soon as, at last, at that time, before, earlier, immediately, in the meantime, in the past, lately, later, meanwhile, now, presently, simultaneously, since, so far, soon, then, thereafter, until, when
TO SIGNAL COMPARISON
again, also, in the same way, likewise, once more, similarly
TO SIGNAL CONTRAST
although, but, despite, even though, however, in contrast, in spite of, instead, nevertheless, nonetheless, on the contrary, on the one hand…on the other hand, regardless, still, though, yet
TO SIGNAL EXAMPLES
after all, for example, for instance, indeed, in fact, of course, specifically, such as, the following example, to illustrate
TO SIGNAL CAUSE AND EFFECT
accordingly, as a result, because, consequently, for this purpose, hence, so, then, therefore, thereupon, thus, to this end
TO SIGNAL PLACE
above, adjacent to, below, beyond, closer to, elsewhere, far, farther on, here, near, nearby, opposite to, there, to the left, to the right
TO SIGNAL CONCESSION
although it is true that, granted that, I admit that, it may appear that, naturally, of course
TO SIGNAL SUMMARY, REPETITION, OR CONCLUSION
as a result, as has been noted, as I have said, as mentioned earlier, as we have seen, in any event, in conclusion, in other words, in short, on the whole, therefore, to summarize