Academic writing is conducted in several sets of forms and genres, normally in an impersonal and dispassionate tone, targeted for a critical and informed audience, based on closely investigated knowledge, and intended to reinforce or challenge concepts or arguments. It usually circulates within the academic world ('the academy'), but the academic writer may also find an audience outside via journalism, speeches, pamphlets, etc. Typically, scholarly writing has an objective stance, clearly states the significance of the topic, and is organized with adequate detail so that other scholars may try to replicate the results. Strong papers are not overly general and correctly utilize formal academic rhetoric.
This article provides a short summary of the full spectrum of critical and academic writing and lists the genres of academic writing. It does cover the variety of critical approaches that can be applied when one writes about a subject. However, as Harwood and Hadley (2004) and Hyland (2004) have pointed out, the amount of variation that exists between different disciplines may mean that we cannot refer to a single academic literacy. While academic writing consists of a number of text types and genres, what they have in common, the conventions that academic writers traditionally follow, has been a subject of debate. Many writers have called for conventions to be challenged, for example Pennycook (1997) and Ivanic (1998), while others suggest that some conventions should be maintained, for example Clark (1997, p136).
A discourse community is essentially a group of people that shares mutual interests and beliefs. "It establishes limits and regularities...who may speak, what may be spoken, and how it is to be said; in addition [rules] prescribe what is true and false, what is reasonable and what foolish, and what is meant and what not." (Porter, 39). People are generally involved in a variety of discourse communities within their private, social, and professional lives. Some discourse communities are very formal with well established boundaries, while others may have a more loose construction with greater freedom. Additionally, discourse communities have approved channels of communication in which members write or speak through. These channels can be a web page, a journal, a blog, or any other medium people use to communicate through. Examples of discourse communities may include but certainly not limited to:
The concept of a discourse community is vital to academic writers across nearly all disciplines, for the academic writer's purpose is to influence a discourse community to think differently. At the same time the discourse community does not expect to see any writing that appears too foreign. For this reason the academic writer must follow the constraints (see article section below) set by the discourse community so his or her ideas earn approval and respect.
Constraints are the discourse community's written and unwritten conventions about what a writer can say and how he or she can say it. They define what is an acceptable argument. Each discourse community expects to see a writer construct his or her argument using their conventional style of language and vocabulary, and they expect a writer to use the established intertext within the discourse community as the building blocks for his or her argument.
In order for a writer to become familiar with some of the constraints of the discourse community they are writing for, a useful tool for the academic writer is to analyze prior work from the discourse community. The writer should look at the textual 'moves' in these papers, focusing on how they are constructed. Across most discourses communities, writers will:
- Identify the novelty of their position
- Make a claim, or thesis
- Acknowledge prior work and situate their claim in a disciplinary context
- Offer warrants for one's view based on community-specific arguments and procedures (Hyland)
Each of the 'moves' listed above are constructed differently depending on the discourse community the writer is in. For example, the way a claim is made in a high school paper would look very different from the way a claim is made in a college composition class.  It is important for the academic writer to familiarize himself or herself with the conventions of the discourse community by reading and analyzing other works, so that the writer is best able to communicate his or her ideas. (Porter) Contrary to some beliefs, this is by no means plagiarism.
Writers should also be aware of other ways in which the discourse community shapes their writing. Other functions of the discourse community include determining what makes a novel argument and what a 'fact' is. The following sections elaborate on these functions.
Misconceptions regarding facts and opinions in the discourse community
It is important for any writer to distinguish between what is accepted as 'fact' and what is accepted as 'opinion'. Wikipedia's article Fact misguides writers in their interpretation of what a fact actually is. The article states that "A fact (derived from the Latin factum, see below) is something that has really occurred or is actually the case". But this is not how writers think of facts. Writing professionals hold that, "In a rhetorical argument, a fact is a claim that an audience will accept as being true without requiring proof".:76 Facts can be thought of merely as claims. The audience can be thought of as a discourse community, and a fact can suddenly change to become an opinion if stated in a different discourse community. This is how writers within discourse communities manage to present new ideas to their communities. Any new opinion would need to be proven by making a rhetorical argument, in which the writer would weave together what his or her intended audience will accept as 'facts' in a way that supports his or her idea. Therefore, knowing the intended discourse community is a very important part of writing.
Across discourse communities, what is considered factual may fluctuate across each community. As Elizabeth Wardle and Douglas Downs wrote in their book Writing about Writing,:67 in reference to Margaret Kantz's article "Helping students use textual sources persuasively":
A key concept in this change is learning to recognize that facts aren't so much inherently true statements as they are claims-that is, assertions that most of a given audience has agreed are true because for that audience sufficient proof has already been given. You, like most people, would probably classify the statement "the Earth is round" as a "fact." Its status as a fact, however, depends on our mutual agreement that "round" is an adequate description of the Earth's actual, imperfectly spherical shape. What Kantz wants us to see is that what makes the statement a fact is not how "true" the statement is but that most people have agreed that it's true and treat it as true. Statements about which we haven't reached this consensus remain claims, statements that people argue about. Kantz's work here demonstrates why it's so important to read texts-even "factual" works like textbooks and encyclopedias-as consisting of claims, not facts.
Misconceptions regarding making a novel argument
Within discourse communities, writers build on top of the ideas established by previous writers. One of the most common misconceptions about writing is the idea of the 'lonely writer'; that great writers' papers are filled almost entirely with original ideas and messages. But this is simply not the case. Discourse communities introduce new ideas and claims, and from these, writers expand on them. James Porter, a scholar of Rhetoric at Indiana University, uses The Declaration of Independence as an example to illustrate this point. Porter points out that Jefferson merely pulled the phrase "That all men are created equal" straight from his commonplace book he made as a boy. Porter also points out that, "'Life, Liberty, and the pursuit of Happiness'" was a cliche of the times, appearing in numerous political documents." In fact, according to Porter, almost nothing in the Declaration of Independence was written originally by Jefferson. Jefferson wrote this great work by weaving together the intertext of his discourse community. As Greene describes in his article, "Argument as Conversation", academic writing can be thought of metaphorically as a conversation between those in the discourse community. "The metaphor of conversation emphasizes the social nature of writing" (Greene). Just like in a conversation when you listen to the ideas of the others who are involved and formulate your own opinion on the topic, a writer may be reading a paper done by another writer in the discourse community and from this paper, the scholar may obtain inspiration to expand the claims expressed in the paper or address them from other angles. "Like the verbal conversations you have with others,' effective arguments never take place in a vacuum; they take into account previous conversations that have taken place about the subject under discussion" (Greene). Good academic writers know the importance of researching previous work from within the discourse community and using this work to build their own claims. By taking these ideas and expanding upon them or applying them in a new way, a writer is able to make their novel argument.
Intertextuality is the combining of past writings into original, new pieces of text. The term intertextuality was coined in 1966 by Julia Kristeva. All texts are necessarily related to prior texts through a network of links, writers (often unwittingly) make use of what has previously been written and thus some degree of borrowing is inevitable. This generally occurs within a specific discourse community.
Factoring in intertextuality, the goal of academic writing is not simply creating new ideas, but to offer a new perspective and link between already established ideas. This is why gathering background information and having past knowledge is so important in academic writing. A common metaphor used to describe academic writing is "entering the conversation", a conversation that began long before you got there and will continue long after you leave. A quote from Kenneth Burke encapsulates this metaphor:
"Imagine that you enter a parlor. You come late. When you arrive, others have long preceded you, and they are engaged in a heated discussion, a discussion too heated for them to pause and tell you exactly what it is about. In fact the discussion had already begun long before any of them got there, so that no one present is qualified to retrace for you all the steps that had gone before. You listen for a while, until you decide that you have caught the tenor of the argument; then you put in your oar. Someone answers; you answer him; another comes to your defense; another aligns himself against you, to either the embarrassment or gratification of your opponent, depending on the quality of your ally's assistance. However, the discussion is interminable. The hour grows late, you must depart, with the discussion still vigorously in progress."
Intertextuality plays into this because without it there would be no conversations, just hundreds of thousands of writings not connected or able to build on each other. The listening until you can join the conversation can be seen as doing research. All of the research you read, is built on research instead of self-knowledge. This can be connected to the part of the metaphor where no one in the parlor is qualified to bring you up to speed, just as the papers your researched were researched also.
Porter inspirationally explores the essence of intertextuality in one of his articles (Intertextuality and the Discourse Community):
"When we teach writing only as the act of "bringing out what is within," we risk undermining our own efforts. Intertextuality reminds us that "carrying out ritual activities" is also part of the writing process. Barthes reminds us that "the 'I' which approaches the text is already itself a plurality of other texts, of codes which are infinite".
This idea of 'I' being plurality of other texts is one of the reasons, why teachers in Spain often use the expression/metaphor: "Yo no existo cuando escribo un texto académico y tú no existes tampoco" which translates to: "I do not exist when I write academic text and you do not exist too". The power of this statement is the idea that one can turn intertextuality into ones own favor only once one "does not exist" when writing academic text and only once one realizes that there is no universal reader to which the text can be attributed to. The text lives its own life with its own purpose and the author is not the actual creator of the text. The author is simply translating meaning (assignment) into non-existent code, forming non-existent "I" which is intended for non-existent reader (it is rather series of different readers, often with various opinions on the text). So what is academic writing about? In essence, it's about nothing. It is an imperfect conventional form of code created by few people whom we do not know and it is surrounded by non-existent concepts. It is inherited from imperfect teachers and is bound to reveal only very small portion of all the possible infinite codes. However, this small portion can be unique. As long as it is, it provides us with new combination of codes and an opportunity to find our own existence in the nothingness which surrounds us, either through the eyes of the machine or through the eyes of our own. What is important, is our ability to recognize which former codes and which texts of the past can help us find our existence and which codes are irrelevant. As long as we are consciously aware of what we are translating from, we are not forced to shift the meaning involuntarily. Therefore, we create an opportunity for people to base their opinion on the actual meaning of the text and enable them to continue creating the non-existent, with a sense of understanding.
There are two distinct types of intertextuality as defined by Porter:
Iterability is the capability of a text to be reiterated and repeated in various contexts. Iterability is explicitly seen in texts, as opposed to presupposition, which refers to assumptions a text makes. One such example of this concept from Porter is the Declaration of Independence. Many texts and ideas of different centuries were integrated into the one document. Jefferson took the idea of John Locke's social contract theory, the Declaration of Rights for Virginia by George Mason, and the form of the English Bill of Rights in 1689 into the Declaration of Independence. Some claimed that this was blatant plagiarism but others say it was iterability. He used the form of a list of grievances as used in the English Bill of Rights and this example proves that not only direct quotes can be reiterated but also the form of a text. When Thomas Jefferson proposed the Declaration to congress, they made 86 changes to his actual original ideas because they were so farfetched from the current discourse community. This is an example of the constraint a discourse community can place on a text.
Presupposition is the process by which implications are made without being specifically stated or explained within text. These assumptions are usually extremely basic thoughts made by a vast majority of the audience; such thoughts may be considered "common sense" or otherwise obvious to anyone who reads the text. Example: "Rodrigo rode his bike to his friend's house."
- This simple statement implies several facts that the reader automatically assumes. Rodrigo owns a bike, he has a friend, his friend has a house, his house is within biking distance, and Rodrigo has the ability to ride a bike.
- Details can be added or removed by an author to give more or less creative license to the readers themselves; in this case, one reader could imagine the bike being colored red, while another may believe it to be blue. Because the assumptions made by different readers can be drastically different from one another, it is important that the framework the author provides is sufficient to keep the assumptions that are crucial to the story itself constant between readers.
Example: "It was a dark and stormy night."
- This statement is iterated as a cliché opening to a story. The statement provides an opening for a fictional narrative while simultaneously implying an ominous, foreboding setting. When opening a story with this line, the author is able to instantly set a mood and tone before the story truly begins, giving the reader a sense that the story is already in progress.
- Ulysses: Ulysses, a novel written by James Joyce in 1918, is an example of intertextuality because the themes largely shadow those of Homer's Odyssey (an ancient Greek epic poem). Ulysses uses the plot line from The Odyssey and retells it with a new character in a new setting, thus using past writings to create a new, original one.
- Aladdin: The classic Disney movie Aladdin has many distinct examples of intertextuality throughout. For example, one scene depicts the Genie that comes out of Aladdin's lamp being pinched by a crab – the same crab from another popular Disney movie, The Little Mermaid. In another scene, the two main characters are flying through the sky on a magic carpet and, for a moment, Zeus's temple from the movie Hercules can be seen in the background. These are examples of intertextuality because they pull from past Disney works and use them to create something new and original.
- West Side Story: West Side Story is an example of intertextuality in that it is the modern retelling of Shakespeare's tragedy of Romeo and Juliet. Tony (Romeo) and Maria (Juliet) are both in love. However, their families and the rival groups with which their loyalty lies forbid their love. West Side Story uses themes from Romeo and Juliet (such as forbidden love and a tragic ending) to create a new, original story.
Academic document types
- Book, in many types and varieties
- Chapter in an edited volume
- Book report
- Conference paper
- Dissertation; usually between 6,000 and 20,000 words in length
- Essay; usually short, between 1,500 and 6,000 words in length
- Explication; usually a short factual note explaining some obscure part of a particular work; e.g. its terminology, dialect, allusions or coded references
- Research Article
- Research Paper; longer essay involving library research, 3000 to 6000 words in length
- Technical report
- Thesis; completed over a number of years, often in excess of 20,000 words in length
- Exam questions and Essay titles; the formulation of these
- Instructional pamphlet, or hand-out, or reading list; usually meant for students
- Presentations; usually short, often illustrated
Summaries of knowledge
Collating the work of others
- Anthology; collection, collation, ordering and editing of the work of others
- Catalogue raisonné; the definitive collection of the work of a single artist, in book form
- Collected works; often referred to as the 'critical edition'. The definitive collection of the work of a single writer or poet, in book form, carefully purged of publishers errors and later forgeries, etc.
- Monograph or exhibition catalog; usually containing exemplary works, and a scholarly essay. Sometime contains new work by a creative writer, responding to the work
- Transcribing, selecting and ordering oral testimony (e.g. oral history recordings)
Research and planning
Technical or administrative forms
These are acceptable to some academic disciplines, e.g. Cultural studies, Fine art, Feminist studies, Queer theory, Literary studies.
The most common disposition standard in the academic world is the IMRAD method, stating that an academic document should consist of sections in the following order:
- Introduction (Problem motivation, aim, objective, problem statement, own contributions, background materials, overview)
- Method (Assumptions, questionary, system model, simulation model, performance measures)
- Result (Empirical results, charts, plots)
- Discussion (Analysis, Conclusions)
Other common sections in academic documents are:
- Tony, Becher,; Paul, Trowler, (1 October 2001). Academic Tribes And Territories: Intellectual Enquiry and the Culture of Disciplines. McGraw-Hill Education (UK). ISBN 978-0-335-20627-8.
- Booth, Wayne C.; Colomb, Gregory G.; Williams, Joseph M. (15 May 2009). The Craft of Research, Third Edition. University of Chicago Press. ISBN 978-0-226-06264-8.
- Borg, Erik (2003). 'Discourse Community', English Language Teaching (ELT) Journal, Vol. 57, Issue 4, pp. 398–400
- Canagarajah, A. Suresh (2002). A Geopolitics of Academic Writing. University of Pittsburgh Press. ISBN 978-0-8229-7238-9.
- Coinam, David (2004). 'Concordancing Yourself: A Personal Exploration of Academic Writing', Language Awareness, Vol. 13, Issue 1, pp. 49–55
- Phyllis, Creme,; Mary, Lea, (1 May 2008). Writing At University: A Guide For Students. McGraw-Hill Education (UK). ISBN 978-0-335-22116-5.
- Goodall, H. Lloyd, Jr. (2000). Writing Qualitative Inquiry: Self, Stories, and Academic Life (Walnut Creek, CA: Left Coast Press)
- Hyland, Ken (22 July 2004). Disciplinary Discourses, Michigan Classics Ed.: Social Interactions in Academic Writing. University of Michigan Press. ISBN 0-472-03024-8.
- Johns, Ann M. (1997). Text, Role and Context: Developing Academic Literacies (Cambridge: Cambridge University Press)
- King, Donald W., Carol Tenopir, Songphan Choemprayong, and Lei Wu (2009). 'Scholarly Journal Information Seeking and Reading Patterns of Faculty at Five U.S. Universities', Learned Publishing, Vol. 22, Issue 2, pp. 126–144
- Kouritzin, Sandra G., Nathalie A. C Piquemal, and Renee Norman, eds (2009). Qualitative Research: Challenging the Orthodoxies in Standard Academic Discourse(s) (New York: Routledge)
- Lincoln, Yvonna S, and Norman K Denzin (2003). Turning Points in Qualitative Research: Tying Knots in a Handkerchief (Walnut Creek, CA; Oxford: AltaMira Press)
- Luey, Beth (2010). Handbook for Academic Authors, 5th edn (Cambridge: Cambridge University Press)
- Murray, Rowena, and Sarah Moore (2006). The Handbook of Academic Writing: A Fresh Approach (Maidenhead: Open University Press)
- Nash, Robert J. (2004). Liberating Scholarly Writing: The Power of Personal Narrative (New York; London: Teachers College Press)
- Paltridge, Brian (2004). 'Academic Writing', Language Teaching, Vol. 37, Issue 2, pp. 87–105
- Pelias, Ronald J. (1999). Writing Performance: Poeticizing the Researcher's Body (Carbondale, IL: Southern Illinois University Press)
- Prior, Paul A. (1998). Writing/Disciplinarity: A Sociohistoric Account of Literate Activity in the Academy (Mahwah, NJ; London: Lawrence Erlbaum)
- Rhodes, Carl and Andrew D. Brown (2005). 'Writing Responsibly: Narrative Fiction and Organization Studies', The Organization: The Interdisciplinary Journal of Organizations and Society, Vol. 12, Issue 4, pp. 467–491
- Richards, Janet C., and Sharon K. Miller (2005). Doing Academic Writing in Education: Connecting the Personal and the Professional (Mahwah, NJ: Lawrence Erlbaum)
- Zamel, Vivian; Spack, Ruth (6 August 2012). Negotiating Academic Literacies: Teaching and Learning Across Languages and Cultures. Routledge. ISBN 978-1-136-60891-9. (
- Free open educational resources for research students www.readytoresearch.ac.uk and www.digitalscholarship.ac.uk Useful information on English for English for academic purposes, academic phrasebank, self-assessment, grammar guide etc.
Architecture, design and art
- Crysler, C. Greig (2002). Writing Spaces: Discourses of Architecture, Urbanism and the Built Environment (London: Routledge)
- Francis, Pat (2009). Inspiring Writing in Art and Design: Taking a Line for a Write (Bristol; Chicago: Intellect)
- Frayling, Christopher (1993). 'Research in Art and Design', Royal College of Art Research Papers, Vol. 1, Issue 1, pp. 1–5
- Piotrowski, Andrzej (2008). 'The Spectacle of Architectural Discourses', Architectural Theory Review, Vol. 13, Issue 2, pp. 130–144
- Roudavski, Stanislav (2010). 'Transparency or Drama? Extending the Range of Academic Writing in Architecture and Design', Journal of Writing in Creative Practice, 3, 2, pp. 111–133
- Baldo, Shannon. "Elves and Extremism: the use of Fantasy in the Radical Environmentalist Movement." Young Scholars in Writing: Undergraduate Research in Writing and Rhetoric 7 (Spring 2010): 108-15. Print.
- Greene, Stuart. "Argument as Conversation: The Role of Inquiry in Writing a Researched Argument." n. page. Print.
- Kantz, Margaret. "Helping Students Use Textual Sources Persuasively." College English 52.1 (1990): 74-91. Print.
- Porter, James. "Intertextuality and the Discourse Community."Rhetoric Review. 5.1 (1986): 34-47. Print.
A paragraph (from the Ancient Greek παράγραφος paragraphos, "to write beside" or "written beside") is a self-contained unit of a discourse in writing dealing with a particular point or idea. Though not required by the syntax of any language, paragraphs are usually an expected part of formal writing, used to organize longer prose.
The oldest classical Greek and Latin writing had little or no space between words and could be written in boustrophedon (alternating directions). Over time, text direction (left to right) became standardized, and word dividers and terminal punctuation became common. The first way to divide sentences into groups was the original paragraphos, similar to an underscore at the beginning of the new group. The Greek paragraphos evolved into the pilcrow (¶), which in English manuscripts in the Middle Ages can be seen inserted inline between sentences. The hedera leaf (e.g. ☙) has also been used in the same way.
In ancient manuscripts, another means to divide sentences into paragraphs was a line break (newline) followed by an initial at the beginning of the next paragraph. An initial is an oversized capital letter, sometimes outdented beyond the margin of the text. This style can be seen, for example, in the original Old English manuscript of Beowulf. Outdenting is still used in English typography, though not commonly. Modern English typography usually indicates a new paragraph by indenting the first line. This style can be seen in the (handwritten) United States Constitution from 1787. For additional ornamentation, a hedera leaf or other symbol can be added to the inter-paragraph whitespace, or put in the indentation space.
A second common modern English style is to use no indenting, but add vertical white space to create "block paragraphs." On a typewriter, a double carriage return produces a blank line for this purpose; professional typesetters (or word processing software) may put in an arbitrary vertical space by adjusting leading. This style is very common in electronic formats, such as on the World Wide Web and email.
Widows and orphans occur when the first line of a paragraph is the last line in a column or page, or when the last line of a paragraph is the first line of a new column or page.
A recent trendy idea in English is not to indent the first paragraph, but indent those that follow. For example, Robert Bringhurst states that we should "Set opening paragraphs flush left." Bringhurst explains as follows:
The function of a paragraph is to mark a pause, setting the paragraph apart from what precedes it. If a paragraph is preceded by a title or subhead, the indent is superfluous and can therefore be omitted.
The Elements of Typographic Style states that "at least one en [space]" should be used to indent paragraphs after the first, noting that that is the "practical minimum". An em space is the most commonly used paragraph indent.Miles Tinker, in his book Legibility of Print, concluded that indenting the first line of paragraphs increases readability by 7%, on the average.
See also: Newline
In word processing and desktop publishing, a hard return or paragraph break indicates a new paragraph, to be distinguished from the soft return at the end of a line internal to a paragraph. This distinction allows word wrap to automatically re-flow text as it is edited, without losing paragraph breaks. The software may apply vertical whitespace or indenting at paragraph breaks, depending on the selected style.
How such documents are actually stored depends on the file format. For example, HTML uses the <p> tag as a paragraph container. In plaintext files, there are two common formats. Pre-formatted text will have a newline at the end of every physical line, and two newlines at the end of a paragraph, creating a blank line. An alternative is to only put newlines at the end of each paragraph, and leave word wrapping up to the application that displays or processes the text.
A line break that is inserted manually, and preserved when re-flowing, may still be distinct from a paragraph break, although this is typically not done in prose. HTML's <br /> tag produces a line break without ending the paragraph; the W3C recommends using it only to separate lines of verse (where each "paragraph" is a stanza), or in a street address.
See also: Newline
Paragraphs are commonly numbered using the decimal system, where (in books) the integral part of the decimal represents the number of the chapter and the fractional parts are arranged in each chapter in order of magnitude. Thus in Whittaker and Watson's 1921 A Course of Modern Analysis, chapter 9 is devoted to Fourier Series; within that chapter §9.6 introduces Riemann's theory, the following section §9.61 treats an associated function, following §9.62 some properties of that function, following §9.621 a related lemma, while §9.63 introduces Riemann's main theorem, and so on. Whittaker and Watson attribute this system of numbering to Giuseppe Peano on their "Contents" page, although this attribution does not seem to be widely credited elsewhere.
Main article: Section (typography)
Many published books use a device to separate certain paragraphs further when there is a change of scene or time. This extra space, especially when co-occurring at a page or section break, may contain an asterisk, three asterisks, a special stylistic dingbat, or a special symbol known as an asterism.
Purpose and style advice
A common English usage misconception is that a paragraph has three to five sentences; single-word paragraphs can be seen in some professional writing, and journalists often use single-sentence paragraphs.
The crafting of clear, coherent paragraphs is the subject of considerable stylistic debate. Forms generally vary among types of writing. For example, newspapers, scientific journals, and fictional essays have somewhat different conventions for the placement of paragraph breaks.
English students are sometimes taught that a paragraph should have a topic sentence or "main idea", preferably first, and multiple "supporting" or "detail" sentences which explain or supply evidence. One technique of this type, intended for essay writing, is known as the Schaffer paragraph. For example, the following excerpt from Dr. Samuel Johnson's Lives of the English Poets, the first sentence is the main idea: that Joseph Addison is a skilled "describer of life and manners". The succeeding sentences are details that support and explain the main idea in a specific way.
As a describer of life and manners, he must be allowed to stand perhaps the first of the first rank. His humour, which, as Steele observes, is peculiar to himself, is so happily diffused as to give the grace of novelty to domestic scenes and daily occurrences. He never "o'ersteps the modesty of nature," nor raises merriment or wonder by the violation of truth. His figures neither divert by distortion nor amaze by aggravation. He copies life with so much fidelity that he can be hardly said to invent; yet his exhibitions have an air so much original, that it is difficult to suppose them not merely the product of imagination.
This advice differs from stock advice for the construction of paragraphs in Japanese (translated as danraku 段落).
- The American Heritage Dictionary of the English Language. 4th ed. New York: Houghton Mifflin, 2000.
- Johnson, Samuel. Lives of the Poets: Addison, Savage, etc.. Project Gutenberg, November 2003. E-Book, #4673.
- Rozakis, Laurie E. Master the AP English Language and Composition Test. Lawrenceville, NJ: Peterson's, 2000. ISBN 0-7645-6184-7 (10). ISBN 978-0-7645-6184-9 (13).
- The dictionary definition of paragraph at Wiktionary