SPG4: Paragraphing
Organising writing into effective paragraphs - essential for clarity, structure and impact.
Organising writing into effective paragraphs - essential for clarity, structure and impact.
Good paragraphing:
Start a new paragraph when there's a change in:
The sun dipped below the horizon. Shadows lengthened across the empty street.
Hours later, the first stars appeared. The town had fallen silent.
The writer uses metaphor to create a sense of danger. The "raging storm" suggests inner turmoil and conflict.
In addition to metaphor, the writer employs sensory language. Words like "crashing" and "thundering" appeal to the reader's sense of sound.
"I don't understand," said Sarah, frowning.
"It's simple," replied Tom. "Just follow the instructions."
"But what if I make a mistake?"
Tom smiled. "Then you try again."
A topic sentence introduces the main idea of a paragraph. It tells readers what to expect.
Narrative: The atmosphere shifted dramatically when she entered the room.
Argument: Social media has fundamentally changed how young people communicate.
Analysis: The writer employs a range of sensory imagery to create atmosphere.
| Weak | Strong | Why |
|---|---|---|
| This paragraph is about... | The writer creates tension through... | Direct and purposeful |
| I will now discuss... | Shakespeare's use of imagery reveals... | Shows analysis, not just listing |
| Another point is... | Furthermore, the structure suggests... | Links to previous ideas |
Connectives show relationships between paragraphs:
| Type | Connectives | Example |
|---|---|---|
| Adding | Furthermore, Moreover, In addition | "Furthermore, the writer uses..." |
| Contrasting | However, On the other hand, Conversely | "However, this contrasts with..." |
| Causing | Therefore, Consequently, As a result | "Consequently, the reader feels..." |
| Sequence | Firstly, Secondly, Finally | "Finally, the writer employs..." |
| Example | For instance, For example | "For instance, the metaphor..." |
Refer back to previous ideas to create cohesion:
Paragraph 1: The writer uses dark imagery throughout the opening. Words like "shadow," "gloom" and "darkness" pervade the description.
Paragraph 2: This dark imagery serves a specific purpose: it establishes a mood of foreboding that prepares the reader for later events.
Vary paragraph length for effect:
The room stretched before her, vast and empty. Dust motes danced in the shafts of light that filtered through grimy windows. Every surface was covered in a thick layer of neglectβthe forgotten remains of a life once lived. In the corner, a grand piano stood silent, its keys yellowed with age. The curtains hung limp and faded, barely holding onto their rods. She could almost hear the echoes of laughter and music that must have once filled this space, now reduced to shadows and memories.
(Develops atmosphere, creates immersion)
Then she saw it.
(Creates impact, shock, moment of realisation)
Before writing, plan:
Point: The writer creates a sense of isolation through setting.
Evidence: The "empty street" and "closed shutters" suggest abandonment.
Explanation: These images of emptiness emphasise the character's solitude, making the reader share their sense of loneliness.
Link: This isolation mirrors the character's emotional state, connecting setting to theme.
| Mistake | Problem | Fix |
|---|---|---|
| One giant paragraph | Hard to follow, no structure | Use TiP ToP to find natural breaks |
| Random paragraph breaks | Disrupts flow, confusing | Plan structure before writing |
| No topic sentences | Reader loses focus | Start with clear main idea |
| Repetitive paragraph starts | Monotonous, unskilled | Vary openers and use connectives |
| Unbalanced paragraphs | Poor pacing | Develop main points equally |
| No links between paragraphs | Disjointed, lacks flow | Use connectives and references |
Q1: What does TiP ToP stand for?
Q2: Write a topic sentence for a paragraph about a writer's use of rhetorical questions.
Q3: When should you start a new paragraph in dialogue?
Q4: What does PEEL stand for?
Q5: Why might a writer use a one-sentence paragraph?
Students often write one giant paragraph with no breaks, making the response impossible to follow. Wrong: A 300-word block of text with no paragraph breaks, mixing multiple ideas, time shifts, and speakers. Correct: Use TiP ToP (Time, Place, Topic, Person) to find natural paragraph breaks. Each paragraph should develop one main idea or moment. In dialogue, start a new paragraph for each new speaker.
Students often start every paragraph the same way, creating a monotonous rhythm. Wrong: "Firstly... Secondly... Thirdly... Furthermore... In conclusion..." β every paragraph opens with a generic connective. Correct: Vary your paragraph openers β start with a topic sentence, a reference back ("This atmosphere of fear..."), a rhetorical question, a subordinate clause ("Although some disagree..."), or a bold statement. Variety shows sophistication.
Students often write paragraphs with no clear main idea, drifting between points. Wrong: A paragraph that discusses homework, mentions school uniform, and then talks about school meals β three topics in one paragraph. Correct: One main idea per paragraph. Start with a topic sentence that states the point, then develop it with evidence and explanation. If you're moving to a new topic, start a new paragraph.
40 marks: Write the opening of an article for a school website about whether school uniform should be compulsory, demonstrating effective paragraphing with clear topic sentences and cohesive links.
Every morning, approximately 90% of British school students pull on a blazer, tie, and pair of regulation trousers or skirt before walking through the school gates. For most of us, it's as automatic as brushing our teeth. But should it be? Is school uniform a valuable tradition that promotes equality, or an outdated requirement that suppresses individuality?
The case for uniform rests largely on the argument that it creates a level playing field. When every student wears the same outfit, the visible markers of wealth β designer labels, expensive trainers, the latest trends β are theoretically erased. In a society where young people face intense social pressure, uniform can provide a daily reprieve from the politics of appearance.
However, this argument assumes that uniform genuinely eliminates inequality. In practice, the opposite may be true. Branded blazers from the school's approved supplier can cost upwards of £50 each; a full uniform, including PE kit, can exceed £300 per year. For families already struggling with the cost of living, this is not a level playing field β it's an additional financial burden disguised as equality.
Furthermore, the claim that uniform improves academic performance is not as well-supported as its advocates suggest. A 2018 study by the University of Missouri analysed data from over 10,000 students and found no significant correlation between uniform policies and improved academic outcomes. What did correlate with better results? Student wellbeing, teacher quality, and class size β factors that have nothing to do with what students wear.
None of this means uniform should be abolished overnight. But it does mean the conversation needs to move beyond tradition and assumption, and engage with the actual evidence. Students deserve a policy based on fact, not familiarity.
Mark scheme: AO5 (21-24/24) β Well-organised article with effective paragraphing: each paragraph has a clear topic sentence; paragraphs are linked with cohesive devices ("However", "Furthermore", "None of this"); counter-argument is given its own paragraph and addressed; conclusion links back to opening. AO6 (14-16/16) β Varied paragraph openers; paragraphs vary in length for effect; topic sentences are clear and purposeful; transitions are smooth; correct article format with headline.
AO5 β Content and Organisation (24 marks): Paragraphing is the most visible aspect of organisation in AO5. At grade 5 (Level 3, 9-12 marks), paragraphs may be present but poorly structured β some are too long, others lack topic sentences, and the overall organisation may feel random rather than planned. At grade 9 (Level 6, 21-24 marks), paragraphing is "convincing" β each paragraph develops one idea fully, topic sentences guide the reader, paragraphs are linked with cohesive devices, and the overall structure serves the purpose (building an argument, developing a narrative, or creating an atmosphere). The key difference from grade 5 to 9 is coherence: in a grade 9 piece, the reader can follow the writer's thinking from paragraph to paragraph without effort, because the structure is logical and the transitions are smooth.
AO6 β Technical Accuracy (16 marks): Paragraphing also affects AO6 because it demonstrates cohesion β the ability to link ideas across a text. At grade 5 (Level 3, 9-12 marks), paragraphs may exist but feel disconnected, with no connectives or references linking them. At grade 9 (Level 4, 13-16 marks), paragraphs are clearly linked β the writer uses connectives ("Furthermore", "However"), referencing ("This argument"), and structural echoes to create a text that feels unified rather than fragmented. A one-sentence paragraph used for dramatic effect also shows sophisticated control of paragraph structure for AO6.
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