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C : Select from the following

T
B I

T , expressed in the most beautiful sentences, will move no one unless those ideas are
properly connected. Unless readers can move easily from one thought to another, they will surely find something else to read or turn on
the television.

Providing transitions between ideas is largely a matter of attitude. You must never assume that your readers know what you know.
In fact, it's a good idea to assume not only that your readers need all the information that you have and need to know how you arrived at
the point you're at, but also that they are not quite as quick as you are. You might be able to leap from one side of the stream to the
other; believe that your readers need some stepping stones and be sure to place them in readily accessible and visible spots.

There are four basic mechanical considerations in providing transitions between ideas: using transitional expressions, repeating
key words and phrases, using pronoun reference, and using parallel form.

USING TRANSITIONAL TAGS

Transitional tags run the gamut from the most simple — the little conjunctions: and, but, nor, for, yet, or, (and sometimes) so — to
more complex signals that ideas are somehow connected — the conjunctive adverbs and transitional expressions such as however,
moreover, nevertheless, on the other hand.

For additional information on

conjunctions, click HERE.

The use of the little conjunctions — especially and and but — comes naturally for most writers. However, the question whether
one can begin a sentence with a small conjunction often arises. Isn't the conjunction at the beginning of the sentence a sign that the
sentence should have been connected to the prior sentence? Well, sometimes, yes. But often the initial conjunction calls attention to the
sentence in an effective way, and that's just what you want. Over-used, beginning a sentence with a conjunction can be distracting, but
the device can add a refreshing dash to a sentence and speed the narrative flow of your text. Restrictions against beginning a sentence

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with and or but are based on shaky grammatical foundations; some of the most influential writers in the language have been happily
ignoring such restrictions for centuries.*

Here is a chart of the transitional devices (also called conjunctive adverbs or adverbial conjunctions) accompanied with a
simplified definition of function (note that some devices appear with more than one definition):

again, also, and, and then, besides, equally

important, finally, first, further, furthermore, in
addition
addition, in the first place, last, moreover, next,
second, still, too

comparison also, in the same way, likewise, similarly

concession granted, naturally, of course

although, and yet, at the same time, but at the

same time, despite that, even so, even though, for
all that, however, in contrast, in spite of, instead,
contrast
nevertheless, notwithstanding, on the contrary, on
the other hand, otherwise, regardless, still, though,
yet

emphasis certainly, indeed, in fact, of course

after all, as an illustration, even, for example, for

example or instance, in conclusion, indeed, in fact, in other
illustration words, in short, it is true, of course, namely,
specifically, that is, to illustrate, thus, truly

all in all, altogether, as has been said, finally, in

brief, in conclusion, in other words, in particular,
summary in short, in simpler terms, in summary, on the
whole, that is, therefore, to put it differently, to
summarize

time sequence after a while, afterward, again, also, and then, as

long as, at last, at length, at that time, before,
besides, earlier, eventually, finally, formerly,
further, furthermore, in addition, in the first place,
in the past, last, lately, meanwhile, moreover, next,
now, presently, second, shortly, simultaneously,
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since, so far, soon, still, subsequently, then,

thereafter, too, until, until now, when

A word of caution: Do not interlard your text with transitional expressions merely because you know these devices
connect ideas. They must appear, naturally, where they belong, or they'll stick like a fishbone in your reader's craw. (For that
same reason, there is no point in trying to memorize this vast list.) On the other hand, if you can read your entire essay and
discover none of these transitional devices, then you must wonder what, if anything, is holding your ideas together. Practice
by inserting a tentative however, nevertheless, consequently. Reread the essay later to see if these words provide the glue you
needed at those points.

Repetition of Key Words and Phrases

The ability to connect ideas by means of repetition of key words and phrases sometimes meets a natural resistance based on the
fear of being repetitive. We've been trained to loathe redundancy. Now we must learn that catching a word or phrase that's important to
a reader's comprehension of a piece and replaying that word or phrase creates a musical motif in that reader's head. Unless it is
overworked and obtrusive, repetition lends itself to a sense of coherence (or at least to the illusion of coherence). Remember Lincoln's
advice:

You can fool some of the people all of the time, and all of the people some of the time, but you cannot fool all of the
people all of the time.

In fact, you can't forget Lincoln's advice, because it has become part of the music of our language.

Remember to use this device to link paragraphs as well as sentences.

Pronoun Reference
Pronouns quite naturally connect ideas because pronouns almost always refer the reader to something earlier in the text. I cannot
say "This is true because . . ." without causing the reader to consider what "this" could mean. Thus, the pronoun causes the reader to
sum up, quickly and subconsciously, what was said before (what this is) before going on to the because part of my reasoning.

We should hardly need to add, however, that it must always be perfectly clear what a pronoun refers to. If my reader cannot
instantly know what this is, then my sentence is ambiguous and misleading. Also, do not rely on unclear pronoun references to avoid
responsibility: "They say that . . ."

Parallelism
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Music in prose is often the result of parallelism, the deliberate repetition of larger structures of phrases, even clauses and whole
sentences. We urge you to read the Guide's section on Parallelism and take the accompanying quiz on recognizing parallel form (and
repairing sentences that ought to use parallel form but don't). Pay special attention to the guided tour through the parallel intricacies
within Abraham Lincoln's Gettysburg Address.

Coherence Devices in Action

In our section on writing the Argumentative Essay, we have a complete student essay ("Cry, Wolf" — at
the bottom of that document) which we have analyzed in terms of argumentative development and in
which we have paid special attention to the connective devices holding ideas together.

Look at the following paragraph:

The ancient Egyptians were masters of preserving dead people's bodies by making mummies of them. Mummies
several thousand years old have been discovered nearly intact. The skin, hair, teeth, fingernails and toenails, and
facial features of the mummies were evident. It is possible to diagnose the disease they suffered in life, such as
smallpox, arthritis, and nutritional deficiencies. The process was remarkably effective. Sometimes apparent were the
fatal afflictions of the dead people: a middle-aged king died from a blow on the head, and polio killed a child king.
Mummification consisted of removing the internal organs, applying natural preservatives inside and out, and then
wrapping the body in layers of bandages.

Though weak, this paragraph is not a total washout. It starts with a topic sentence, and the sentences that follow are clearly related
to the topic sentence. In the language of writing, the paragraph is unified (i.e., it contains no irrelevant details). However, the paragraph
is not coherent. The sentences are disconnected from each other, making it difficult for the reader to follow the writer's train of thought.

Below is the same paragraph revised for coherence. Italics indicates pronouns and repeated/restated key words, bold indicates
transitional tag-words, and underlining indicates parallel structures.

The ancient Egyptians were masters of preserving dead people's bodies by making mummies of them. In short,
mummification consisted of removing the internal organs, applying natural preservatives inside and out, and then
wrapping the body in layers of bandages. And the process was remarkably effective. Indeed, mummies several
thousand years old have been discovered nearly intact. Their skin, hair, teeth, fingernails and toenails, and facial
features are still evident. Their diseases in life, such as smallpox, arthritis, and nutritional deficiencies, are still
diagnosable. Even their fatal afflictions are still apparent: a middle-aged king died from a blow on the head; a child
king died from polio.

The paragraph is now much more coherent. The organization of the information and the links between sentences help readers
move easily from one sentence to the next. Notice how this writer uses a variety of coherence devices, sometimes in combination, to
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achieve overall paragraph coherence.

*Authority: The New Fowler's Modern English Usage edited by R.W. Burchfield. Clarendon Press: Oxford, England. 1996. Used with the permission of Oxford
University Press.

Analyzing Coherence

Guide to Grammar Principles of

Index
and Writing Composition

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