Recognizing patterns of organization

Although paragraphs (and indeed whole essays) may be patterned in any number of ways, certain patterns of organization occur frequently, either alone or in combination:

These patterns (sometimes called methods of development) have different uses, depending on the writer’s subject and purpose.

Examples and illustrations

Providing examples, perhaps the most common method of development, is appropriate whenever the reader might be tempted to ask, “For example?”

Normally my parents abided scrupulously by “The Budget,” but several times a year Dad would dip into his battered black strongbox and splurge on some irrational, totally satisfying luxury. Once he bought over a hundred comic books at a flea market, doled out to us thereafter at the tantalizing rate of two a week. He always got a whole flat of pansies, Mom’s favorite flower, for us to give her on Mother’s Day. One day a boy stopped at our house selling fifty-cent raffle tickets on a sailboat, and Dad bought every ticket the boy had left—three books’ worth.

—Connie Hailey, student

Illustrations are extended examples, frequently presented in story form. When well selected, they can be a vivid and effective means of developing a point.

Part of [Harriet Tubman’s] strategy of conducting was, as in all battle-field operations, the knowledge of how and when toretreat. Numerous allusions have been made to her moves when she suspected that she was in danger. When she feared the party was closely pursued, she would take it for a time on a train southward bound. No one seeing Negroes going in this direction would for an instant suppose them to be fugitives. Once on her return she was at a railroad station. She saw some men reading a poster and she heard one of them reading it aloud. It was a description of her, offering a reward for her capture. She took a southbound train to avert suspicion. At another time when Harriet heard men talking about her, she pretended to read a book which she carried. One man remarked, “This can’t be the woman. The one we want can’t read or write.” Harriet devoutly hoped the book was right side up.

—Earl Conrad, Harriet Tubman

Narration

A paragraph of narration tells a story or part of a story. The following paragraph recounts one of the author’s experiences in the African wild.

One evening when I was wading in the shallows of the lake to pass a rocky outcrop, I suddenly stopped dead as I saw the sinuous black body of a snake in the water. It was all of six feet long, and from the slight hood and the dark stripes at the back of the neck I knew it to be a Storm’s water cobra—a deadly reptile for the bite of which there was, at that time, no serum. As I stared at it an incoming wave gently deposited part of its body on one of my feet. I remained motionless, not even breathing, until the wave rolled back into the lake, drawing the snake with it. Then I leaped out of the water as fast as I could, my heart hammering.

—Jane Goodall, In the Shadow of Man

Description

A descriptive paragraph sketches a portrait of a person, place, or thing by using concrete and specific details that appeal to one or more of the senses—sight, sound, smell, taste, and touch. Consider, for example, the following description of the grasshopper invasions that devastated the midwestern landscape in the late 1860s.

They came like dive bombers out of the west. They came by the millions with the rustle of their wings roaring overhead. They came in waves, like the rolls of the sea, descending with a terrifying speed, breaking now and again like a mighty surf. They came with the force of a williwaw and they formed a huge, ominous, dark brown cloud that eclipsed the sun. They dipped and touched earth, hitting objects and people like hailstones. But they were not hail. These were live demons. They popped, snapped, crackled, and roared. They were dark brown, an inch or longer in length, plump in the middle and tapered at the ends. They had transparent wings, slender legs, and two black eyes that flashed with a fierce intelligence.

—Eugene Boe, “Pioneers to Eternity”

Process

A process paragraph is structured in chronological order. A writer may choose this pattern either to describe how something is made or done or to explain to readers, step by step, how to do something. The following paragraph explains how to perform a “roll cast,” a popular fly-fishing technique.

Begin by taking up a suitable stance, with one foot slightly in front of the other and the rod pointing down the line. Then begin a smooth, steady draw, raising your rod hand to just above shoulder height and lifting the rod to the 10:30 or 11:00 position. This steady draw allows a loop of line to form between the rod top and the water. While the line is still moving, raise the rod slightly, then punch it rapidly forward and down. The rod is now flexed and under maximum compression, and the line follows its path, bellying out slightly behind you and coming off the water close to your feet. As you power the rod down through the 3:00 position, the belly of line will roll forward. Follow through smoothly so that the line unfolds and straightens above the water.

The Dorling Kindersley Encyclopedia of Fishing

Comparison and contrast

To compare two subjects is to draw attention to their similarities, although the word compare also has a broader meaning that includes a consideration of differences. To contrast is to focus only on differences.

Whether a paragraph stresses similarities or differences, it may be patterned in one of two ways. The two subjects may be presented one at a time, as in the following paragraph of contrast.

So Grant and Lee were in complete contrast, representing two diametrically opposed elements in American life. Grant was the modern man emerging; beyond him, ready to come on the stage, was the great age of steel and machinery, of crowded cities and a restless, burgeoning vitality. Lee might have ridden down from the old age of chivalry, lance in hand, silken banner fluttering over his head. Each man was the perfect champion of his cause, drawing both his strengths and his weaknesses from the people he led.

—Bruce Catton, “Grant and Lee: A Study in Contrasts”

Or a paragraph may proceed point by point, treating the two subjects together, one aspect at a time. The following paragraph uses the point-by-point method to contrast speeches given by Abraham Lincoln in 1860 and Barack Obama in 2008.

Two men, two speeches. The men, both lawyers, both from Illinois, were seeking the presidency, despite what seemed their crippling connection with extremists. Each was young by modern standards for a president. Abraham Lincoln had turned fifty-one just five days before delivering his speech. Barack Obama was forty-six when he gave his. Their political experience was mainly provincial, in the Illinois legislature for both of them, and they had received little exposure at the national level—two years in the House of Representatives for Lincoln, four years in the Senate for Obama. Yet each was seeking his party’s nomination against a New York senator of longer standing and greater prior reputation—Lincoln against Senator William Seward, Obama against Senator Hillary Clinton. They were both known for having opposed an initially popular war—Lincoln against President Polk’s Mexican War, raised on the basis of a fictitious provocation; Obama against President Bush’s Iraq War, launched on false claims that Saddam Hussein possessed WMDs [weapons of mass destruction] and had made an alliance with Osama bin Laden.

—Garry Wills, “Two Speeches on Race”

Analogy

Analogies draw comparisons between items that appear to have little in common. Writers can use analogies to make something abstract or unfamiliar easier to grasp or to provoke fresh thoughts about a common subject. In the following paragraph, physician Lewis Thomas draws an analogy between the behavior of ants and that of humans.

Ants are so much like human beings as to be an embarrassment. They farm fungi, raise aphids as livestock, launch armies into wars, use chemical sprays to alarm and confuse enemies, capture slaves. The families of weaver ants engage in child labor, holding their larvae like shuttles to spin out the thread that sews the leaves together for their fungus gardens. They exchange information ceaselessly. They do everything but watch television.

—Lewis Thomas, “On Societies as Organisms”

Cause and effect

A paragraph may move from cause to effects or from an effect to its causes. The topic sentence in the following paragraph mentions an effect; the rest of the paragraph lists several causes.

The fantastic water clarity of the Mount Gambier sinkholes results from several factors. The holes are fed from aquifers holding rainwater that fell decades—even centuries—ago, and that has been filtered through miles of limestone. The high level of calcium that limestone adds causes the silty detritus from dead plants and animals to cling together and settle quickly to the bottom. Abundant bottom vegetation in the shallow sinkholes also helps bind the silt. And the rapid turnover of water prohibits stagnation.

—Hillary Hauser, “Exploring a Sunken Realm in Australia”

Classification and division

Classification is the grouping of items into categories according to some consistent principle. The following paragraph classifies species of electric fish.

Scientists sort electric fishes into three categories. The first comprises the strongly electric species like the marine electric rays or the freshwater African electric catfish and South American electric eel. Known since the dawn of history, these deliver a punch strong enough to stun a human. In recent years, biologists have focused on a second category: weakly electric fish in the South American and African rivers that use tiny voltages for communication and navigation. The third group contains sharks, nonelectric rays, and catfish, which do not emit a field but possess sensors that enable them to detect the minute amounts of electricity that leak out of other organisms.

—Anne and Jack Rudloe, “Electric Warfare: The Fish That Kill with Thunderbolts”

Division takes one item and divides it into parts. As with classification, division should be made according to some consistent principle. The following paragraph describes the components that make up a baseball.

Like the game itself, a baseball is composed of many layers. One of the delicious joys of childhood is to take apart a baseball and examine the wonders within. You begin by removing the red cotton thread and peeling off the leather cover—which comes from the hide of a Holstein cow and has been tanned, cut, printed, and punched with holes. Beneath the cover is a thin layer of cotton string, followed by several hundred yards of woolen yarn, which makes up the bulk of the ball. Finally, in the middle is a rubber ball, or “pill,” which is a little smaller than a golf ball. Slice into the rubber and you’ll find the ball’s heart—a cork core. The cork is from Portugal, the rubber from southeast Asia, the covers are American, and the balls are assembled in Costa Rica.

—Dan Gutman, The Way Baseball Works

Definition

A definition puts a word or concept into a general class and then provides enough details to distinguish it from other members in the same class. In the following paragraph, the writer defines envy as a special kind of desire.

Envy is so integral and so painful a part of what animates behavior in market societies that many people have forgotten the full meaning of the word, simplifying it into one of the synonyms of desire. It is that, which may be why it flourishes in market societies: democracies of desire, they might be called, with money for ballots, stuffing permitted. But envy is more or less than desire. It begins with an almost frantic sense of emptiness inside oneself, as if the pump of one’s heart were sucking on air. One has to be blind to perceive the emptiness, of course, but that’s just what envy is, a selective blindness. Invidia, Latin for envy, translates as “non-sight,” and Dante has the envious plodding along under cloaks of lead, their eyes sewn shut with leaden wire. What they are blind to is what they have, God-given and humanly nurtured, in themselves.

—Nelson W. Aldrich Jr., Old Money