This document discusses different techniques for connecting paragraphs in writing, including standard transitions, paragraph hooks, and combinations of the two. Standard transitions like "however" can be too abrupt on their own. Paragraph hooks involve repeating a key word or phrase from the previous paragraph to link the ideas together more smoothly. Effective paragraph hooks include repeating the last word, phrase, or compressing the main idea into a single phrase. Combining a standard transition with a paragraph hook can create an especially strong connection between paragraphs. Varying the transitional techniques helps writing from becoming monotonous.
A-Level English Breathless: An American Girl in Paris by Nancy Miller Kayleigh Robinson
Analysis on the A Level text on the following headings: Phonology, Lexis, Grammar, Pragmatics, Discourse and Graphology. Examples and quotes included. Idea inspirational - helps you come up with more ideas and ways to analyse texts and specifically, the Nancy Miller text - Breathless: An American Girl in Paris.
This presentation will show you about passage structure and types of question in reading comprehension. It may help the beginners to make themselves understand their reading.
A-Level English Breathless: An American Girl in Paris by Nancy Miller Kayleigh Robinson
Analysis on the A Level text on the following headings: Phonology, Lexis, Grammar, Pragmatics, Discourse and Graphology. Examples and quotes included. Idea inspirational - helps you come up with more ideas and ways to analyse texts and specifically, the Nancy Miller text - Breathless: An American Girl in Paris.
This presentation will show you about passage structure and types of question in reading comprehension. It may help the beginners to make themselves understand their reading.
Writing is a taxing exercise that one needs to be guided through . Here are the following steps that leads to effective writing. If one follows these steps then one is guaranteed to produce quality writing. And these steps need to be followed sequentially, as follows : pre-writing, drafting, revising , editing , publishing
The 7 Steps of the Writing Process by Monica Fox, M.A.Monicali25
In order to write a good college essay, it is imporant for the writing to follow a process. Writing, like cooking from scratch, requires a number of steps. Those steps will look for each writer. For beginning college writers, it is very important to understand the writing process, thesis statement, and the revision and editing steps. The following PowerPoint explains the seven steps: Understanding the Assignment, Generating Ideas during Pre-Writing, Planning, Drafting, Revising, Editing and Proofreading, and Preparing a Final Draft. The PowerPoint also provides some good examples of what a thesis statement and outline look like.
I delivered this presentation at the Canadian Association of Journalists "Innovate News" conference in Toronto, ON on January 30, 2010. The topic was "Visual Thinking and the Writing Process" and looks at visual techniques that writers could use in brainstorming, gathering information and developing their stories.
The Creative Assignment is in two parts(1)A pastiche, or a styl.docxssuser454af01
The Creative Assignment is in two parts:
(1)A "pastiche," or a stylistic imitation of another text. You will choose a work by one of the poets we are reading, and then identify one or more elements of the work to transform in some way; write your own poem, modelled after the original text. Your imitation, or pastiche, need not be longer than a page or two. Also, notice that in a sense you will "copy" the original, but since you are changing content and overall form, it is not at all "plagiarism." You will have broad creative latitude in the design and direction of your pastiche.
(2) I will not directly grade the Pastiche (imitation) itself (though it must be "sincerely attempted"). Instead, I will grade the accompanying Defense: a description of the process you followed, and of the outcome. Use these bullet points in developing your Defense (perhaps one paragraph per bullet point):
·
A detailed explanation of your choice for the primary text you have imitated
·
A definition of the particular elements you tried to imitate
·
A description of the creative process you followed
·
An account of the challenges you encountered, and how you dealt with them
·
Your own opinion of the resulting imitation
·
A summary of the resulting insights regarding the primary work, and creative effort in
general
·
Put a page break after your Pastiche, then start the Defense on a new page. Put both in the same file. The Defense should be around 600 words, minimum.
Take a look at the sample Pastiche & Defense assignments I have provided. They are on the Lectures and Announcements forum.
Essentially, this is an exercise in analysis but from a different angle. You need to identify specific formal and thematic characteristics of a text. But then, you will attempt to transfer a fewof them to a text of your own creation.
Take a look at how Raleigh responds to Marlowe --see "A Passionate Shepherd to His Love"and "The Nymph's Reply to the Shepherd.
Then, look at a poem like "Those Winter Sundays" by Robert Hayden. Among many other characteristics, it presents a male speaker who tells of a father, somewhat strict and disciplined, with whom the speaker, now probably an adult and the father perhaps dead, had a troubled, uncommunicative relationship. You can create a poem that will also remember back to a recurring, that is, a habitual, experience with your father or mother, or a grandparent, or some other authority figure (you can vary the basic elements); you will perhaps try as well to capture the split consciousness: the earlier lack of appreciation, the present tone of regret; and you might also carry over some of the other, more formal devices: the use of sounds to capture some psychological aspect of the person or situation (notice the "k" sounds in the Hayden poem), or the concluding question ("What did I know, what did I know?") that also includes some key word of double significance ("office," that is partly religious and partly about the disciplined,dutifu l matters .
TP-CASTT Poetry AnalysisT Title Before you even think abou.docxjuliennehar
TP-CASTT Poetry Analysis
T Title Before you even think about reading the poetry or trying to analyze it, speculate on what
you think the poem might be about based upon the title. Often time, authors conceal
meaning and give clues in the title. Jot down what you think this poem will be about
P Paraphrase Before you begin thinking about meaning or trying to analyze the poem, don't overlook the
literal meaning of the poem. One of the biggest problems that students often make in
poetry analysis is jumping to conclusions before understanding what is taking place in the
poem. When you paraphrase a poem, write in your own words exactly what happens in
each line of the poem. Look at the number of sentences in the poem—your paraphrase
should have exactly the same number. This technique is especially helpful for poems
written in the 17th and 19th centuries that use language that is harder to understand.
C Connotation Although this term usually refers solely to the emotional overtones of word choice, for this
chart the term refers to any and all poetic devices, focusing on how such devices contribute
to the meaning, the effect, or both of a poem. You may consider imagery, figures of speech
(simile, metaphor, personification, symbolism, etc), diction, point of view, and sound
devices (alliteration, onomatopoeia, rhythm, and rhyme). It is not necessary that you
identify all the poetic devices within the poem. The ones you do identify should be seen as
a way of supporting the conclusions you are going to draw about the poem.
A Attitude Having examined the poem's devices and clues closely, you are now ready to explore the
multiple attitudes that may be present in the poem. Examination of diction, images, and
details suggests the speaker's attitude and contributes to understanding. Think about the
tone of the poem and how the author has created it. Remember that usually the tone or
attitude cannot be named with a single word - think complexity.
S Shifts Rarely does a poem begin and end the poetic experience in the same place. As is true of
most us, the poet's understanding of an experience is a gradual realization, and the poem is
a reflection of that understanding or insight. Watch for the following keys to shifts:
• key words, (but, yet, however, although)
• punctuation (dashes, periods, colons, ellipsis)
• stanza divisions
• changes in line or stanza length or both
• irony
• changes in sound that may indicate changes in meaning
• changes in diction
T Title Now look at the title again, but this time on an interpretive level. What new insight does
the title provide in understanding the poem.
T Theme What is the poem saying about the human experience, motivation, or condition? What
subject or subjects does the poem address? What do you learn about those subjects? What
idea does the poet want you take away with you concerning these subjects? Remember that
the theme of any work of literature is stated in a complete sentence an ...
i need help with this paper it is due wednesday and i can pay no mor.docxheathmirella
i need help with this paper it is due wednesday and i can pay no more then 20. if you can do please let me know. also please read all info because this is all the info that i have nothing more. no plagiarism two parts second part must be 600 words or more.
The Creative Assignment is in two parts:
(1)A "pastiche," or a stylistic imitation of another text. You will choose a work by one of the poets we are reading, and then identify one or more elements of the work to transform in some way; write your own poem, modelled after the original text. Your imitation, or pastiche, need not be longer than a page or two. Also, notice that in a sense you will "copy" the original, but since you are changing content and overall form, it is not at all "plagiarism." You will have broad creative latitude in the design and direction of your pastiche.
(2) I will not directly grade the Pastiche (imitation) itself (though it must be "sincerely attempted"). Instead, I will grade the accompanying Defense: a description of the process you followed, and of the outcome. Use these bullet points in developing your Defense (perhaps one paragraph per bullet point):
·
A detailed explanation of your choice for the primary text you have imitated
·
A definition of the particular elements you tried to imitate
·
A description of the creative process you followed
·
An account of the challenges you encountered, and how you dealt with them
·
Your own opinion of the resulting imitation
·
A summary of the resulting insights regarding the primary work, and creative effort in
general
·
Put a page break after your Pastiche, then start the Defense on a new page. Put both in the same file. The Defense should be around 600 words, minimum.
Take a look at the sample Pastiche & Defense assignments I have provided. They are on the Lectures and Announcements forum.
Essentially, this is an exercise in analysis but from a different angle. You need to identify specific formal and thematic characteristics of a text. But then, you will attempt to transfer a fewof them to a text of your own creation.
Take a look at how Raleigh responds to Marlowe --see "A Passionate Shepherd to His Love"and "The Nymph's Reply to the Shepherd.
Then, look at a poem like "Those Winter Sundays" by Robert Hayden. Among many other characteristics, it presents a male speaker who tells of a father, somewhat strict and disciplined, with whom the speaker, now probably an adult and the father perhaps dead, had a troubled, uncommunicative relationship. You can create a poem that will also remember back to a recurring, that is, a habitual, experience with your father or mother, or a grandparent, or some other authority figure (you can vary the basic elements); you will perhaps try as well to capture the split consciousness: the earlier lack of appreciation, the present tone of regret; and you might also carry over some of the other, more formal devices: the use of sounds to capture some psychological aspect of the person or sit.
Shall I Compare Thee To a Line of Code? (with presenter notes)Lauren Scott
A talk by Lauren Scott
For the version without presenter notes, please visit http://www.slideshare.net/laureninwonderland/shall-icomparethee-44789596
Programming has a lot more in common with the arts than we like to think—and no, I don’t just mean it’s good for making apps like Draw Something. People often speak of programming as an art form, saying that great code can somehow transcend basic functionality and become something that has value in the essence of its form. But, as we all know, writing code is easy—it’s writing the good stuff that’s hard.
So what can we take from study of the arts that would illuminate our own paths as developers? In this talk, I’ll go through some poetic principles that clarify ideas about software development, both in the way we write our code and the way we grow as creators and teammates. We’ll explore the way poets learn to shape their craft and see what we can steal to help our code level up from functioning to poetic.
Assignmentassignment.docxDirections1) Read the following po.docxssuser562afc1
Assignment/assignment.docx
Directions
1) Read the following poems from the Album "The Art of (Reading) Poetry" (699-706 of Norton Anthology):Archibald Macleish, “Ars Poetica”
· Czeslaw Milosz, “Ars Poetcia?”
· Elizabeth Alexander, “Ars Poetica #100: I Believe”
· Marianne Moore, “Poetry”
· Julia Alvarez, “Poetry Makes Nothing Happen?”
· Billy Collins, “Introduction to Poetry”
2) Read the poems in the Albums “The Author’s Work as Context: Adrienne Rich” (page 911) and “Pat Mora: An Album” (page 971).
3) Select one poem from "The Art of (Reading) Poetry" and one poem from “The Author’s Work as Context: Adrienne Rich” or “Pat Mora: An Album." Choose two poems that you think will go well together.
4) Take notes about why you think the two poems go well together. In your notes, consider
· What does the poem from "The Art of (Reading) Poetry" say about the nature of poetry and the experience of reading it? What are its main ideas?
· How well does the poem from "The Art of (Reading) Poetry" reflect its own main ideas? In other words, is this poem special in the ways that it says poetry should be special? Does it have the characteristics of poetry that it says poetry should have? Is your experience of reading the poem what it says the experience of reading poetry should be? Why or why not?
· What are the main ideas expressed in the poem you chose by Rich or Mora? How well do the main ideas expressed in this poem compare with the topics, themes, or ideas the art-of-poetry poem suggests poetry should cover?
· How well does the poem by Rich or Mora that you chose reflect the ideas about poetry expressed in the poem you chose from "The Art of (Reading) Poetry"? In other words, does Rich's or Mora's poem have the characteristics that the poem about the art of poetry says poems should have? Is your experience of reading Mora's or Rich's poem what the art-of-poetry poem says the experience should be? Why or why not?
· How do the two poems compare? Do they use similar techniques to have effects on their readers? In other words, do they use similar diction, figures of speech, ways of characterizing their speakers, or rhythm? How are these techniques related to your experience of reading the poems and how well they fit the ideas about poetry in the art-of-poetry poem?
5) Develop a main point, or a thesis statement, for your paper. This thesis should focus on how the poem by Rich or Mora that you chose compares with the ideas about what poetry is like in the poem you chose from "The Art of (Reading) Poetry."
6) Develop supporting paragraphs that use analysis of specific quotations and details from the poem and explain those specific quotations and details. Review the lecture "The Essential Moves of Literary Analysis" within Topic 3: Writing about Literature. This lecture provides a paragraph structure that works well to keep your paragraphs focused and show how everything in the paragraph relates to your paragraph's main claim.
Be sure to review the course mater ...
These are the slides from my Year 12 Standard English class. Module C: texts and society. Elective 1: Into the World. prescribed text: poetry of William Blake
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
A Survey of Techniques for Maximizing LLM Performance.pptx
Connecting paragraphs
1. T o o
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CONNECTING PARAGRAPHS
STANDARD TRANSITION
Although however and other transitional devices are
indispensable to the writer, enabling him or her to
make dozens of connections neatly and efficiently,
they cannot handle the whole transitional load. Even
if they could, no writer would depend upon them
exclusively, for they can become painfully obvious
when they are used over and over again. You want
your reader to be pleasantly aware that your
paragraphs are firmly linked, but you do not want him
or her to see chains too clearly or hear them clank too
audibly into place. For example, here the transition
from one paragraph to the next is accomplished by a
standard transition alone--the word however:
Mark Twain is established in the minds
of most Americans as a kindly humorist,
a gentle and delightful "funny man." No
doubt his photographs have helped
promote this image. Everybody is
familiar with the Twain face. He looks
like every child's ideal grandfather, a dear
old white-thatched gentleman who
embodies the very spirit of loving-
kindness.
However, Twain wrote some of
the most savage satire ever
produced in America. . . .
The standard transition indicates clearly enough that
the writer is preparing to take off with a new idea in
opposition to the one in the first paragraph, but the
transition is far too abrupt. The leap from one idea
(how Twain looked) to the next (how he wrote) is
simply too great to be handled by a mechanical
transition. Therefore, you need another kind of
transition, something that is both stronger and subtler.
You have it in the paragraph hook.
PARAGRAPH HOOK - WORD OR PHRASE
You probably use the paragraph hook often in your
own writing without knowing it and see it constantly
in your reading without realizing it (as in this
sentence). However, to take full advantage of its
possibilities, you should learn to use the paragraph
hook consciously, to direct and control it for your own
purposes. Control, remember, is the essence of style,
and the handling of transitions is an important part of
any writer's style.
To see how the paragraph hook differs from the
standard transitional device, observe how much more
firmly the paragraphs hang together if the transition is
made like this:
. . . a dear old white-thatched
gentleman who embodies the very
spirit of loving-kindness.
The loving-kindness begins to
look a little doubtful in view of some
of his writing, for Twain wrote some
of the most savage satire. . . .
Here you see demonstrated the simplest kind of
paragraph hook – the word or phrase hook. The last
word of the first paragraph is hooked into the first
sentence of the second paragraph and used as a point
of departure for introducing another idea. This
repetition hooks the paragraphs together solidly. The
hook need not be one word; it can be a phrase. It
should not, however, exceed three or four words.
Although the last word or phrase of a paragraph
frequently serves as the simplest and strongest kind of
hook, you can go back farther than this, sometimes to
create an even better effect:
. . . a dear old white-thatched gentleman
who embodies the very spirit of loving-
kindness.
This dear old white-thatched
gentleman happens to be the author of
some of the most savage satire. . .
Generally speaking, the last sentence of a paragraph is
the best place to find the hook for your new paragraph,
for this sentence is the one freshest in the reader's
mind. If you go back much deeper than this, you will
usually need a multiple hook, as in this example:
. . .No doubt his photographs have
helped promote this image. . .He looks
like. . .the very spirit of loving kindness.
To accept such an image is to betray
greater familiarity with the photographs
than with the writing, for Twain wrote
some of the most savage satire. . . .
Here both image and photographs are repeated, thus
"double hooking" the paragraph to make up for the
greater distance between their first and second
appearance. The greater the distance, the more likely
you are to need a multiple hook. However, no
arbitrary rule in this matter is possible, so the
important thing is to remember your readers. Make
certain that the connection is clear to them, but do not
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2. Connecting Paragraphs 2
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insult them by making the connection too clear-- that
is, by repeating huge sections or whole sentences from
the preceding paragraph. One or two key words will
do the job.
PARAGRAPH HOOK - IDEA HOOK
All the examples so far have been simple word or
phrase hooks. Another variation of the paragraph
hook is the idea hook. The principle is the same; you
hook into the preceding paragraph, but instead of
repeating an exact word or phrase you refer to the idea
just expressed, compressing it into a single phrase:
Mark Twain is . . . the very spirit of
loving kindness.
Such a view of Twain would probably
have been a source of amusement to the
author himself, for Twain wrote some of
the most savage satire. . . .
Mark Twain is . . . the very spirit of
loving kindness.
Any resemblance between this popular
portrait and the man who reveals himself
in his writing is purely imaginary, for
Twain wrote some of the most savage. . .
In neither of the above examples is an exact word or
phrase from the first paragraph repeated, but the hook
is clearly there; the referential such a view and this
popularportraitfastentheparagraphsfirmlytogether.
The idea hook can be a great deal more subtle than
this, of course. If you examine the work of any
accomplished essayist, you will find many paragraphs
that have no specific word or phrase serving as a link
but that are nevertheless unmistakablytied together by
meaning. Transitions of this kind require some of the
subtlest skills of writing--the ordering of ideas, the use
of inference and allusion, the creation of "echo
effects," the unobtrusive handling of time and
emphasis. That takes time.
Meanwhile, the simplest idea hook illustrated above
can serve you well. By using it, you can avoid the
danger of overloading your work with either the word
hooks or the purely mechanical transitions. Any
transitional method, remember, can become
annoyingly obvious to a reader if it is overused, so
vary your practice, never permitting one method of
handling transitions to take over the job exclusively.
COMBINATIONS - Transitional Topic Sentence
The combinationofstandardtransitionsandparagraph
hooks is sonatural that you will probably find yourself
using it as a matter of course. Any of the samples
provided could be used to demonstrate combinations:
. .a dear old white-thatched gentleman
who embodies the very spirit of loving-
kindness.
Twain’s loving kindness begins to
look a little doubtful, however, when one
realizes he also wrote some of the most
savage satire.
. .a dear old white-thatched gentleman
who embodies the very spirit of loving-
kindness.
Twain’s image of a dear old white-
thatched gentleman begins to change
after the reader discovers he also wrote
some of the most savage satire.
. .a dear old white-thatched gentleman
who embodies the very spirit of loving-
kindness.
Although Twain may look like every
child's ideal grandfather who embodies
the very spirit of loving-kindness, his
writing also reveals some of the most
savage satire.
Notice that a single transition AND a word or phrase
hook is used, so understandingis enhanced depending
on what the reader requires for clarity and your own
view of the material and natural rhythm in writing.
SUMMARY
Remember, transitions help your reader follow your
train of thought. They are the links that hold your
ideas together and keep them moving toward a single
goal. Therefore, always make certain that some kind
of link exists not only in your own mind but also,
clearly and unmistakably, in the words on your paper.
One kind of link is not better than any other kind, but
variety is better than sameness, so try for variety. Use
the purely mechanical devices for quick and simple
transitions in paragraphs. Use word hooks, phrase
hooks, and transitional topic sentence combinations
for stronger and clearer links between paragraphs and
to improve emphasis and tone.
Use them all, but, above all, USE THEM.
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