Avoid tame, colorless, hesitating, non-committal language. Asserting that one must first the basic elements of an essay are the rules to break them, this classic reference book is a must-have for any student and conscientious writer. Intended for use in which the practice of composition is combined with the study of literature, it gives in brief space the principal requirements of plain English style and concentrates attention on the rules of usage and principles of composition most commonly violated.
Please forward this error screen to 209. If the subject on which you are writing is of slight extent, or if you intend to treat it very briefly, there may be no need of subdividing it into topics. Thus a brief description, a brief summary of a literary work, a brief account of a single incident, a narrative merely outlining an action, the setting forth of a single idea, any one of these is best written in a single paragraph. After the paragraph has been written, it should be examined to see whether subdivision will not improve it.
Ordinarily, however, a subject requires subdivision into topics, each of which should be made the subject of a paragraph. The object of treating each topic in a paragraph by itself is, of course, to aid the reader. The beginning of each paragraph is a signal to him that a new step in the development of the subject has been reached. The extent of subdivision will vary with the length of the composition.
For example, a short notice of a book or poem might consist of a single paragraph. Facts of composition and publication. Wherein characteristic of the writer. The contents of paragraphs C and D would vary with the poem.
If the poem is a narrative in the third person throughout, paragraph C need contain no more than a concise summary of the action. Paragraph D would indicate the leading ideas and show how they are made prominent, or would indicate what points in the narrative are chiefly emphasized. What led up to the event. What the event led up to. In treating either of these last two subjects, the writer would probably find it necessary to subdivide one or more of the topics here given. As a rule, single sentences should not be written or printed as paragraphs.
An exception may be made of sentences of transition, indicating the relation between the parts of an exposition or argument. The application of this rule, when dialogue and narrative are combined, is best learned from examples in well-printed works of fiction. Again, the object is to aid the reader. The practice here recommended enables him to discover the purpose of each paragraph as he begins to read it, and to retain the purpose in mind as he ends it.
Ending with a digression, or with an unimportant detail, is particularly to be avoided. If the paragraph forms part of a larger composition, its relation to what precedes, or its function as a part of the whole, may need to be expressed. Sometimes, however, it is expedient to precede the topic sentence by one or more sentences of introduction or transition. If more than one such sentence is required, it is generally better to set apart the transitional sentences as a separate paragraph. According to the writer’s purpose, he may, as indicated above, relate the body of the paragraph to the topic sentence in one or more of several different ways.
In a long paragraph, he may carry out several of these processes. Now, to be properly enjoyed, a walking tour should be gone upon alone. The meaning made clearer by denial of the contrary. And you must be open to all impressions and let your thoughts take colour from what you see. A fourth reason, stated in two forms. You should be as a pipe for any wind to play upon.
The same reason, stated in still another form. I cannot see the wit,” says Hazlitt, “of walking and talking at the same time. The same reason as stated by Hazlitt. When I am in the country, I wish to vegetate like the country,” which is the gist of all that can be said upon the matter.