Adding Cues and Connections

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Effective writing proceeds in some sensible order, each sentence following naturally from the one before it. Yet even well-organized prose can be hard to read unless it is coherent and smoothly integrates its elements. Readers need cues and connections—devices to tie together words in a sentence, sentences in a paragraph, paragraphs in an essay.

Add Transitional Words and Sentences. Many words and phrases specify connections between or within sentences and paragraphs. In fact, you use transitions every day as cues or signals to help others follow your train of thought. For example, you might say to a friend, “Well, on the one hand, a second job would help me save money for tuition. On the other hand, I’d have less time to study.” But some writers rush through, omitting links between thoughts or mistakenly assuming that connections they see will automatically be clear to readers. Often just a word, phrase, or sentence of transition inserted in the right place transforms a disconnected passage into a coherent one. In the chart below, transitional markers are grouped by purpose or the kind of relation or connection they establish.

Common Transitions
TO MARK TIME then, soon, first, second, next, recently, the following day, in a little while, meanwhile, after, later, in the past, finally
TO MARK PLACE OR DIRECTION in the distance, close by, near, far away, above, below, to the right, on the other side, opposite, to the west, next door
TO SUMMARIZE OR RESTATE in other words, to put it another way, in brief, in simpler terms, on the whole, in fact, in a word, to sum up, in short, in conclusion, to conclude, therefore
TO RELATE CAUSE AND EFFECT OR RESULT therefore, accordingly, hence, thus, for, so, consequently, as a result, because of, due to, eventually, inevitably
TO ADD OR AMPLIFY OR LIST and, also, too, besides, as well, moreover, in addition, furthermore, in effect, second, in the second place, again, next
TO COMPARE similarly, likewise, in like manner, in the same way
TO CONCEDE whereas, on the other hand, with that in mind, still, and yet, even so, in spite of, despite, at least, of course, no doubt, even though
TO CONTRAST on the other hand, but, or, however, unlike, nevertheless, on the contrary, conversely, in contrast, instead, counter to
TO INDICATE PURPOSE to this end, for this purpose, with this aim
TO EXPRESS CONDITION although, though
TO GIVE EXAMPLES OR SPECIFY for example, for instance, in this case, in particular, to illustrate
TO QUALIFY for the most part, by and large, with few exceptions, mainly, in most cases, generally, some, sometimes, typically, frequently, rarely
TO EMPHASIZE it is true, truly, indeed, of course, to be sure, obviously, without doubt, evidently, clearly, understandably

Occasionally a whole sentence serves as a transition. The opening of one paragraph may hark back to the last one while revealing a new or narrower direction. The next excerpt is from “Preservation Basics: Why Preserve Film?” a Web page of the National Film Preservation Foundation (NFPF) at filmpreservation.org. The first paragraph introduces the organization’s mission; the next opens with a transitional sentence (italics ours) that introduces major challenges to that mission.

Movies have documented America for more than one hundred years. Since Thomas Edison introduced the movie camera in 1893, amateur and professional filmmakers have used motion pictures to tell stories, record communities, explain the work of business and government, and illustrate current events. They captured, with the immediacy unique to the moving image, how generations of Americans have lived, worked, and dreamed. By preserving these films, we save a century of history.

Unfortunately, movies are not made to last. Created on perishable plastic, film decays within years if not properly stored. Already the losses are high. The Library of Congress has documented that only 20 percent of U.S. feature films from the 1910s and 1920s survive in complete form in American archives; of the American features produced before 1950, about half still exist. For shorts, documentaries, and independently produced works, we have no way of knowing how much has been lost.

The first paragraph establishes the value of preserving the American film legacy. The next paragraph uses key words related to preservation and its absence (perishable, decays, losses, lost) to clarify that what follows builds on what has gone before. The paragraph opens with a short, dramatic transition to one of the major problems: time and existing loss.

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Supply Transition Paragraphs. Transitions may be even longer than sentences. In a long and complicated essay, moving clearly from one idea to the next will sometimes require a short paragraph of transition.

So far, the physical and psychological effects of driving nonstop for hundreds of miles seem clear. The next consideration is why drivers do this. What causes people to become addicted to their steering wheels?

Use a transition paragraph only when you sense that your readers might get lost if you don’t patiently lead them by the hand. If your essay is short, one question or statement beginning a new paragraph will be enough.

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A transition paragraph also can help you move between one branch of argument and your main trunk or between a digression and your main direction. In this excerpt from The Film Preservation Guide: The Basics for Archives, Libraries, and Museums, the writer introduces the importance of inspecting film and devotes the next paragraph to a digression—referring readers to an inspection sheet in the appendix.

Inspection is the single most important way to date a film, identify its technical characteristics, and detect damage and decay. Much can be learned by examining your film carefully, from start to finish.

A standardized inspection work sheet (see appendix B) lists things to check and helps organize notes. This type of written report is the foundation for future preservation actions. Collecting the information during inspection will help you make informed decisions and enable you to document any changes in film condition over time.

Signs of decay and damage may vary across the length of the film. . . .

The second paragraph acts as a transition, guiding readers to specialized information in the appendix and then drawing them back to the overall purpose of inspection: assessing the extent of damage to a film.

Select Repetition. Another way to clarify the relationship between two sentences, paragraphs, or ideas is to repeat a key word or phrase. Such purposeful repetition almost guarantees that readers will understand how all the parts of a passage fit together. Note the word anger in the following paragraph (italics ours) from Of Woman Born (Norton, 1976), poet Adrienne Rich’s exploration of her relationship with her mother.

And I know there must be deep reservoirs of anger in her; every mother has known overwhelming, unacceptable anger at her children. When I think of the conditions under which my mother became a mother, the impossible expectations, my father’s distaste for pregnant women, his hatred of all that he could not control, my anger at her dissolves into grief and anger for her, and then dissolves back again into anger at her: the ancient, unpurged anger of the child.

Strengthen Pronouns. Because they always refer back to nouns or other pronouns, pronouns serve as transitions by making readers refer back as well. Note how certain pronouns (in italics) hold together the following paragraph from “Misunderstood Michelle” by columnist Ellen Goodman in At Large (Summit Books, 1981):

I have two friends who moved in together many years ago. He looked upon this step as a trial marriage. She looked upon it as, well, moving in together. He was sure that in a matter of time, after they had built up trust and confidence, she would agree that marriage was the next logical step. She, on the other hand, was thrilled that here at last was a man who would never push her back to the altar.

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The paragraph uses other transitions, too: time markers (many years ago, in a matter of time, after), on the other hand to show a contrast, and repetition of words related to marriage (trial marriage, marriage, the altar). All serve the main purpose of transitions—keeping readers on track.

Learning by Doing Reflecting on Transitions

Learning by Doingimage Reflecting on Transitions

Select a reading from this book and circle the transitions. Then state the purpose of each transition, according to the chart under "Adding Cues and Connections." Next, using the same chart, replace each transition with an alternative. Read the paragraph and reflect on the differences you see or “hear” with each new word. Do you think these changes alter the author’s meaning? Are your choices better? Worse? Why? After you have completed this process, write a brief reflection: What is the most valuable lesson you have learned about how to use transitions?

Learning by Doing Reflecting on Drafting

Learning by Doingimage Reflecting on Drafting

Think about how you wrote your last successful draft. What did you do? How did you shape your paragraphs? How did you manage transitions to guide readers? What was your secret for success? Write out drafting directions for yourself—ready for your next assignment. Compare directions with a classmate or small group, and exchange any useful advice.