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• Transition sentences | Tips & examples for clear writing

Transition Sentences | Tips & Examples for Clear Writing

Published on June 9, 2020 by Jack Caulfield . Revised on July 23, 2023.

Clear transitions are crucial to clear writing: They show the reader how different parts of your essay, paper, or thesis are connected. Transition sentences can be used to structure your text and link together paragraphs or sections.

… In this case, the researchers concluded that the method was unreliable.

However , evidence from a more recent study points to a different conclusion . …

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Table of contents

Transitioning between paragraphs, transitioning to a new section, transitions within a paragraph, other interesting articles.

When you start a new paragraph , the first sentence should clearly express:

• What this paragraph will discuss
• How it relates to the previous paragraph

The examples below show some examples of transition sentences between paragraphs and what they express.

Placement of transition sentences

The beginning of a new paragraph is generally the right place for a transition sentence. Each paragraph should focus on one topic, so avoid spending time at the end of a paragraph explaining the theme of the next one.

The first dissenter to consider is …

However, several scholars dissent from this consensus. The first one to consider is …

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While transitions between paragraphs are generally a single sentence, when you start a new section in a longer text, you may need an entire transition paragraph. Transitioning to a new section involves summarizing the content of the previous section and expressing how the new one will build upon or depart from it.

For example, the following sentences might be an effective transition for a new section in a literary analysis essay.

Having established that the subjective experience of time is one of Mann’s key concerns in The Magic Mountain , it is now possible to explore how this theme facilitates the novel’s connection with World War I. The war itself is not narrated in the book, but rather hinted at as something awaiting Castorp beyond the final pages. In this way, Mann links his protagonist’s subjective experience of time to more than just his illness; it is also used to explore the period leading up to the outbreak of war.

As in academic writing generally, aim to be as concise as you can while maintaining clarity: If you can transition to a new section clearly with a single sentence, do so, but use more when necessary.

It’s also important to use effective transitions within each paragraph you write, leading the reader through your arguments efficiently and avoiding ambiguity.

The known-new contract

The order of information within each of your sentences is important to the cohesion of your text. The known-new contract , a useful writing concept, states that a new sentence should generally begin with some reference to information from the previous sentence, and then go on to connect it to new information.

In the following example, the second sentence doesn’t follow very clearly from the first. The connection only becomes clear when we reach the end.

By reordering the information in the second sentence so that it begins with a reference to the first, we can help the reader follow our argument more smoothly.

Note that the known-new contract is just a general guideline. Not every sentence needs to be structured this way, but it’s a useful technique if you’re struggling to make your sentences cohere.

Transition words and phrases

Using appropriate transition words helps show your reader connections within and between sentences. Transition words and phrases come in four main types:

• Additive transitions, which introduce new information or examples
• Adversative transitions, which signal a contrast or departure from the previous text
• Causal transitions, which are used to describe cause and effect
• Sequential transitions, which indicate a sequence

The table below gives a few examples for each type:

Grouping similar information

While transition words and phrases are essential, and every essay will contain at least some of them, it’s also important to avoid overusing them. One way to do this is by grouping similar information together so that fewer transitions are needed.

For example, the following text uses three transition words and jumps back and forth between ideas. This makes it repetitive and difficult to follow.

Rewriting it to group similar information allows us to use just one transition, making the text more concise and readable.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

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Writing Transitions

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A discussion of transition strategies and specific transitional devices.

Good transitions can connect paragraphs and turn disconnected writing into a unified whole. Instead of treating paragraphs as separate ideas, transitions can help readers understand how paragraphs work together, reference one another, and build to a larger point. The key to producing good transitions is highlighting connections between corresponding paragraphs. By referencing in one paragraph the relevant material from previous paragraphs, writers can develop important points for their readers.

It is a good idea to continue one paragraph where another leaves off. (Instances where this is especially challenging may suggest that the paragraphs don't belong together at all.) Picking up key phrases from the previous paragraph and highlighting them in the next can create an obvious progression for readers. Many times, it only takes a few words to draw these connections. Instead of writing transitions that could connect any paragraph to any other paragraph, write a transition that could only connect one specific paragraph to another specific paragraph.

Writing Studio

Common transition words and phrases.

In an effort to make our handouts more accessible, we have begun converting our PDF handouts to web pages. Download this page as a PDF: Transitions Return to Writing Studio Handouts

Transitions clarify the logic of your argument by orienting your reader as you develop ideas between sentences and paragraphs. These tools should alert readers to shifts in your argument while and also maintain the smoothness and clarity of your prose. Below, you’ll find some of the most commonly used transition categories and examples of each. Depending on the example, these suggestions may be within sentences or at the beginning of sentences.

Transitions by Category

1. addition.

Use when presenting multiple ideas that flow in the same direction, under the same heading/ idea also, another, finally, first, first of all, for one thing, furthermore, in addition, last of all, likewise, moreover, next, and, second, the third reason

2. Sequence/ Order

Use to suggest a temporal relationship between ideas; places evidence in sequence first, second (etc.), next, last, finally, first of all, concurrently, immediately, prior to, then, at that time, at this point, previously, subsequently, and then, at this time, thereafter, previously, soon, before, after, followed by, after that, next, before, after, meanwhile, formerly, finally, during

3. Contrast

Use to demonstrate differences between ideas or change in argument direction but, however, in contrast, on the other hand, on the contrary, yet, differ, difference, balanced against, differing from, variation, still, on the contrary, unlike, conversely, otherwise, on the other hand, however

4. Exception

Use to introduce an opposing idea however, whereas, on the other hand, while, instead, in spite of, yet, despite, still, nevertheless, even though, in contrast, but, but one could also say…

5. Comparison

Use to demonstrate similarities between ideas that may not be under the same subject heading or within the same paragraph like, likewise, just, in a different way / sense, whereas, like, equally, in like manner, by comparison, similar to, in the same way, alike, similarity, similarly, just as, as in a similar fashion, conversely

6. Illustration

Use to develop or clarify an idea, to introduce examples, or to show that the second idea is subordinate to the first for example, to illustrate, on this occasion, this can be seen, in this case, specifically, once, to illustrate, when/where, for instance, such as, to demonstrate, take the case of, in this case

7. Location

Use to show spatial relations next to, above, below, beneath, left, right, behind, in front, on top, within

8. Cause and Effect

Use to show that one idea causes, or results from, the idea that follows or precedes it because, therefore, so that, cause, reason, effect, thus, consequently, since, as a result, if…then, result in

9. Emphasis

Use to suggest that an idea is particularly important to your argument important to note, most of all, a significant factor, a primary concern, a key feature, remember that, pay particular attention to, a central issue, the most substantial issue, the main value, a major event, the chief factor, a distinctive quality, especially valuable, the chief outcome, a vital force, especially relevant, most noteworthy, the principal item, above all, should be noted

10. Summary or Conclusion

Use to signal that what follows is summarizing or concluding the previous ideas; in humanities papers, use these phrases sparingly. to summarize, in short, in brief, in sum, in summary, to sum up, in conclusion, to conclude, finally

Some material adapted from Cal Poly Pomona College Reading Skills Program and “ Power Tools for Technical Communication .” 

Writing Effective Sentence Transitions (Advanced)

Transitions are the rhetorical tools that clarify the logic of your argument by orienting your reader as you develop ideas between sentences and paragraphs. The ability to integrate sentence transitions into your prose, rather than simply throwing in overt transition signals like “in addition,” indicates your mastery of the material. (Note: The visibility of transitions may vary by discipline; consult with your professor to get a better sense of discipline or assignment specific expectations.)

Transition Signals

Transition signals are words or phrases that indicate the logic connecting sets of information or ideas. Signals like therefore, on the other hand, for example, because, then, and afterwards can be good transition tools at the sentence and paragraph level. When using these signals, be conscious of the real meaning of these terms; they should reflect the actual relationship between ideas.

Review Words

Review words are transition tools that link groups of sentences or whole paragraphs. They condense preceding discussion into a brief word or phrase. For example: You’ve just completed a detailed discussion about the greenhouse effect. To transition to the next topic, you could use review words like “this heat-trapping process” to refer back to the green house effect discussion. The relative ability to determine a cogent set of review words might signal your own understanding of your work; think of review words as super-short summaries of key ideas.

Preview words

Preview words condense an upcoming discussion into a brief word or phrase. For example: You’ve just explained how heat is trapped in the earth’s atmosphere. Transitioning to the theory that humans are adding to that effect, you could use preview words like “sources of additional CO2 in the atmosphere include” to point forward to that discussion.

Transition Sentences

The strongest and most sophisticated tools, transition sentences indicate the connection between the preceding and upcoming pieces of your argument. They often contain one or more of the above transition tools. For example: You’ve just discussed how much CO2 humans have added to the atmosphere. You need to transition to a discussion of the effects. A strong set of transition sentences between the two sections might sound like this:

“These large amounts of CO2 added to the atmosphere may lead to a number of disastrous consequences for residents of planet earth. The rise in global temperature that accompanies the extra CO2 can yield effects as varied as glacial melting and species extinction.”

In the first sentence, the review words are “These large amounts of CO2 added to the atmosphere”; the preview words are “number of disastrous consequences”; the transition signals are “may lead to.” The topic sentence of the next paragraph indicates the specific “disastrous consequences” you will discuss.

If you don’t see a way to write a logical, effective transition between sentences, ideas or paragraphs, this might indicate organizational problems in your essay; you might consider revising your work.

Some material adapted from Cal Poly Pomona College Reading Skills Program  and “ Power Tools for Technical Communication .”

Last revised: 07/2008 | Adapted for web delivery: 05/2021

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Connecting Ideas Through Transitions

Writing that Establishes Relationships and Connections between Ideas

Introduction Common Kinds of Relationships Writers Establish between Ideas Cohesion Coherence Transition Words and Phrases

Introduction

According to poet and science writer Diane Ackerman, “one of the brain’s deepest needs [is] to fill the world with pathways and our lives with a design.” We naturally look for how things are related. In writing, this means that readers tend to assume that two side-by-side sentences or adjacent paragraphs relate to each other. If the pathways and design of your writing aren’t clear to readers, readers will either get confused or frustrated or try to mistakenly intuit their own connections. Both responses can be disastrous.

Good writing provides clear passages through all of your ideas so that readers don’t get lost or start to blaze their own conceptual trail. These connections between ideas occur at the sentence, paragraph, section, and (for longer works) even chapter level. As a writer, it is your responsibility to make sure that your readers follow this progression, that they understand how you arrive at your various ideas and how those ideas relate to each other. In this page, we explore how to make your connections between ideas understandable by using common relationship categories to compose sentences that are cohesive, paragraphs that are coherent, and transitions that clearly order and introduce ideas.

Common Kinds of Relationships Writers Establish between Ideas

Writers are always working to establish clear relationships between and within all of their ideas. Consider how Derek Thompson moves naturally between one concept to another in this short passage from his The Atlantic feature about the future of jobs entitled “A World Without Work”:

[1] One common objection to the idea that technology will permanently displace huge numbers of workers is that new gadgets, like self-checkout kiosks at drugstores, have failed to fully displace their human counterparts, like cashiers. [2] But employers typically take years to embrace new machines at the expense of workers. [3] The robotics revolution began in factories in the 1960s and ’70s, but manufacturing employment kept rising until 1980, and then collapsed during the subsequent recessions.

In the first sentence, Thompson begins with an idea that is familiar to readers at three different levels. The argument that machines haven’t replaced all retail employees and therefore won’t do so in the future is common to anyone who has thought much about workplace technology. This idea is also specifically familiar to the individuals who have been reading Thompson’s article. Finally, Thompson makes this idea even more familiar by connecting it to an example that his readers are familiar with: the effects of self-checkout kiosks. In his second sentence, Thompson uses the transition word “but” to establish a contrastive relationship; what he is about to say in some way opposes what he just said. He concludes this passage with a sentence providing chronologically organized evidence for the idea he raised through that contrast. In this example, he very quickly leads us from the 1960s to the late 20 th century and is able to cover a lot of ground clearly because he starts with happened earlier and concludes with what has happened more recently.

In just these three sentences, we can see Thompson establishing different kinds of relationships between concepts. He is:

• guiding us from familiar ideas into unfamiliar ones,
• comparing two unlike things,
• providing examples for his claims, and
• presenting information chronologically.

Familiarity, contrast, example, and chronology are four common ways that topics can be related, but there are several others. The following lists identifies key relationships that we tend to find naturally in the world around us when we ask questions like, “Why did that happen?” and, “How do these two things fit together?” If you can obviously situate any your ideas within these well-known structures, then readers will be able to more quickly understand the connections you are establishing between your ideas. In the list that follows we identify these common relationship categories, explain them, and provide examples of sentences that establish these kinds of relationships. (All off these sample sentences are about research in Lake Mendota—the body of water just north of the UW-Madison campus.)

Familiarity– Connecting what readers know to what they don’t known.

Learning often involves drawing from existing knowledge in order develop new knowledge. As a result, this is one of the most important relationships you can establish in your writing. Start with what your readers know (either because you can assume a common knowledge or because you’ve already told them about this earlier in your paper or even in the preceding sentence) in order to then take them to something they don’t know.

Example: When you dive into a lake for a quick swim, you’re actually entering a diverse limnology laboratory—the research field for the ecologists who study inland waters.

Causation– Connecting the instigator(s) to the consequence(s)

We are very familiar with thinking about ideas and processes in relationship to cause and effect. You can use the prevalence of this relationship to your advantage by relating your ideas to causation.

Example: In the mid-19 th century, the white sand beaches that used to line Lake Mendota were engulfed by the additional four feet of water that the Tenney Locks brought into the lake (Van Eyck).

Chronology– Connecting what issues in regard to when they occur.

This is particularly useful if you are describing a sequence of events or the steps of a process.

Example: In 1882, E.A. Birge was gathering data about the prevalence of blue-green algae in Lake Mendota (Van Eyck). By 1897, he was publishing about plankton (Birge). Even when he became president of UW-Madison several years later, his interest in freshwater lakes never waned (“Past presidents and chancellors”).

Combinations

Lists–connecting numerous elements..

You can think of this as a “this + this + this” model. You are saying that a collection of concepts or elements contribute equally or simultaneously to something. Within lists, it’s still important that you are being strategic about which elements you are identifying, describing, or analyzing first, second, and third.

Example: Across its studied history, Lake Mendota has been negatively affected by blue-green algae, Eurasian milfoil, spiny water fleas, and zebra mussels, among others (Van Enyck).

Part/Whole— Connecting numerous elements that make up something bigger.

This is a “this + this + this = that” model. You are showing how discrete elements form something else through their connections.

Example: Across generations, the damage Lake Mendota has sustained as a result of the unnaturally prolific prevalence of blue-green algae, Eurasian milfoil, spiny water fleas, and zebra mussels has irreparably altered these waters.

Contrast– Connecting two things by focusing on their differences.

This establishes a relationship of dis-similarity. It helps readers understand what something is by comparing it with something that it is not.

Example: But whereas boosting the population of walleye and northern perch in Lake Mendota effectively reduced the prevalence of Eurasian milfoil, scientists haven’t been able to develop a plan to respond to the damaging spiny water fleas (Van Eyck).

Example– Connecting a general idea to a particular instance of this idea.

Arguments are made more understandable and persuasive when you develop your overall claims in relationship to specific evidence that verifies or exemplifies those claims. Which examples will be the most persuasive (e.g., statistical data, historical precedent, anecdotes, etc.) will depend on the knowledge, interests, disposition, and expectations of your reader.

Example: “These new challenges demand new solutions, some behavioral (such as cleaning boats from lake to lake) and some research-driven (for example, identifying a natural predator for the invasive species)” (Van Eyck).

Importance– Connecting what is critical to what is more inconsequential.

This can also be thought of as connecting what is big to what is small. You may also choose to reverse these relationships by starting with what matters least or what is smallest and building to what is the most important or what is the most prominent. Just make sure that you are helping your reader understand which end of the spectrum you are starting with.

Example: Boaters were inconvenienced by the Eurasian milfoil clogging their propellers, but the plants’ real harm was dealt to the lake’s native flora and, consequently, its fish (Van Eyck).

Location– Connecting elements according to where they are placed in relationship to each other.

Even if you aren’t writing about geographical entities, you can still clarify how various ideas are positioned in relationship to each other.

Example: Whether or not the lake is pretty is peripheral to the issue of whether or not its natural ecosystems are in balance.

Similarity– Connecting two things by suggesting that they are in some way alike.

This highlights commonalities to show readers how elements or ideas are serving the same function.

Example: Just as invasive water flora (i.e., Eurasian milfoil) disrupted Lake Mendota’s ecosystem in the 1970s, in 2009 scientists discovered that the lake was being damaged by invasive water fauna (i.e., spiny water fleas) (Van Eyck).

While the examples provided above for each of these relationships is a sentence or short series of sentences where relationships are established through sequencing and transition words, you should also develop these kinds of common connections between ideas on a large scale through grammatical parallelism, paragraph placement, and your progression from one section to another.

Also, as can be seen in these examples, sometimes multiple different relationships are functioning simultaneously. For instance, consider again the example for the “Importance” item:

The ideas in this sentence work within the following relationship categories:

• Importance—Connecting what is more inconsequential (i.e., how boaters are bothered by Eurasian milfoil) to what is most critical (i.e., how the lake’s ecosystem is disrupted by Eurasian milfoil),
• Contrast—Connecting two things (i.e., boaters’ concerns and the lake’s wellbeing) by focusing on their differences,
• Causation—Connecting an instigator (i.e., Eurasian milfoil) to consequences (i.e., native plants’ destruction and, secondarily, the native animals’ destruction).

This collection of interwoven relational connections doesn’t mean that these ideas are jumbled; this is just an indication of how relationships can become interconnected.

Since clearly working within these relationship categories can be useful for organizing your key concepts as well as guiding readers through the structure of entire papers or particular paragraphs as well as sentences, different kinds of connections can be similarly layered across the whole structure of a paper. For example, if you are composing an argument about why it’s so hard for meteorologists to pin-point the severity and location of tornadoes, the overarching relationship of your ideas might be part/whole because you’re interested in how a range of factors contribute to a difficult prediction process. However, within your paragraphs, you might have to use chronological and causation relationships to describe the physical processes by which tornadoes are formed. And from sentence to sentence, you’ll need to make sure that you are starting with what’s familiar to your readers before moving into what’s new.

Joseph Williams and Joseph Bizup, in their handbook Style: Lessons in Clarity and Grace , identify the process of moving from what is known to what is unknown as “cohesion.” “Sentences are cohesive ,” they write, “when the last few words of one sentence set up the information that appears in the first few words of the next” (67). They relate this careful sequencing to the issue of “flow”—readers find that ideas follow each other naturally when one sentence begins where the previous sentence left off.

Consider another annotated example passage from Derek Thompson’s economic analysis of the effects of automation and technology on jobs. This paragraph comes after one about how horses (once primary forces for industrial production) were made obsolete by transportation technology.

[1] Humans can do much more than trot, carry, and pull. [2] But the skills required in most offices hardly elicit our full range of intelligence. [3] Most jobs are still boring, repetitive, and easily learned. [4] The most-common occupations in the United States are retail salesperson, cashier, food and beverage server, and office clerk. [5] Together, these four jobs employ 15.4 million people—nearly 10 percent of the labor force, or more workers than there are in Texas and Massachusetts combined. [6] Each is highly susceptible to automation, according to the Oxford study.

Thompson’s most obvious application of Williams and Bizup’s concept of cohesion happens at the end sentence 4 and the beginning of sentence 5 where he first lists four professions (salesperson, cashier, server, and clerk) then begins the next sentence with, “these four jobs.”

But even on a conceptual level, Thompson is continuously moving from old information to new information. Consider this analysis of the conceptual shifts within each of these six sentences where Thompson’s ideas have been stripped down and his key concepts have been highlighted in different colors:

[1] Humans have more skills than horses. [2] Humans’ full range of skills aren’t always utilized by many office jobs . [3] Many jobs don’t push us to our full potential. [4] Here are the most common jobs . [5] These jobs employ many people. [6] These jobs could be eliminated through automation .

Thompson begins this paragraph by connecting a new idea (i.e., humans’ present occupational relationship to technology) to an old idea from the previous paragraph (i.e., horse’s past relationship to technology). After introducing the human subject, he then uses it to bring in his next topic: workplace skills. Then, through skills he brings in the issue of jobs, and jobs eventually lead him to the issue of automation. This sequence holds together like a line of conceptual dominoes.

Connecting new ideas to old is a practice that you should implement across sentences, paragraphs, and even whole sections of your writing. However, be careful. If this practice becomes heavy-handed or overdone, your writing can become patronizing to your readers. Make sure that you are clearly and comprehensively connecting ideas and not just sequencing subjects.

In Style: Lessons in Clarity and Grace , Joseph Williams and Joseph Bizup also write about the importance of coherence. While “cohesion” and “coherence” sound similar, they are two different things. “Cohesion” is about ideas that connect to each other “the way two pieces of a jigsaw puzzle do,” whereas “coherence” “is when all the sentences in a piece of writing add up to a larger whole” (69). Sometimes this is also called “unity.” Coherence is achieved when the things you are writing about all clearly contribute to the same overarching topic. For example, let’s return to the domino example from above. The movement from humans to skills to jobs to automation works because Thompson’s larger article establishes a thematic connection between all of these topics: work changes in response to technological developments. Thompson is even able to start this paragraph with an otherwise unexpected reference to horses because in the previous paragraph he has shown his readers how horses also relate to this theme of work changing in response to technological development. Within your writing, it’s important to make sure that all of your smaller ideas are related to and pointed towards the same goal.

Williams and Bizup suggest one way of making sure that your writing is coherent or unified is to pay attention to what each of your sentences is about—its subject (the noun or pronoun that guides a sentence) and topic (the idea that is the focus of that sentence). In most sentences, your subject and topic should be the same thing. Also, most of the time your topic should be short and direct, and each paragraph should be primarily dedicated to one topic. As an example, consider again this paragraph from the Thompson article about human skills, jobs, and automation. The subjects/topics of each sentence have been highlighted.

1] Humans can do much more than trot, carry, and pull. [2] But the skills required in most offices hardly elicit our full range of intelligence. [3] Most jobs are still boring, repetitive, and easily learned. [4] The most-common occupations in the United States are retail salesperson, cashier, food and beverage server, and office clerk. [5] Together, these four jobs employ 15.4 million people—nearly 10 percent of the labor force, or more workers than there are in Texas and Massachusetts combined. [6] Each is highly susceptible to automation, according to the Oxford study.

Note that after setting up this paragraph in a way that connects back to the previous paragraph’s focus on horses, Thompson settles into the issue of jobs as his clear and primary focus. The final four sentences have some version of “jobs” as their subject and topic. This consistency allows him to develop coherent ideas about this one issue.

For more information about writing intentionally structured and unified paragraphs, check out our resource on paragraphing. Additionally, if you are trying to discern whether or not your paragraphs are functioning coherently across your entire paper, we recommend the practice of reverse outlining. You can find out more about this technique here.

Transition Words and Phrases

The best way to clearly communicate the logical pathways that connect your ideas is to make sure that you move smoothly from old information to new information (cohesion) and that your readers always understand how your primary topics contribute to the big picture of your overall argument (coherence). While we’ve considered ways that whole sentences and paragraphs can do this work, sometimes even individual words can help you establish clear, cohesive, and coherent relationships between your ideas. In writing these are often called “transition words.”

The following is a list of useful transition words and phrases. Following the list of common relationship categories provided above, these words are organized according to the kinds of relationships they frequently develop. Of course, establishing clear relationships between ideas requires much more than just dropping one of these into the start of a sentence, but used sparingly and carefully based on the logical associations they establish, these words can provide usefully obvious indications to your readers of the kind of connections you are trying to develop between your ideas.

Causation– Connecting instigator(s) to consequence(s).

accordingly as a result and so because

consequently for that reason hence on account of

since therefore thus

after afterwards always at length during earlier following immediately in the meantime

later never next now once simultaneously so far sometimes

soon subsequently then this time until now when whenever while

Combinations Lists– Connecting numerous events. Part/Whole– Connecting numerous elements that make up something bigger.

additionally again also and, or, not as a result besides even more

finally first, firstly further furthermore in addition in the first place in the second place

last, lastly moreover next second, secondly, etc. too

after all although and yet at the same time but

however in contrast nevertheless nonetheless notwithstanding

on the contrary on the other hand otherwise though yet

as an illustration e.g., (from a Latin abbreviation for “for example”)

for example for instance specifically that is

to demonstrate to illustrate

chiefly critically

foundationally most importantly

of less importance primarily

above adjacent to below beyond

centrally here nearby neighboring on

opposite to peripherally there wherever

Similarity– Connecting to things by suggesting that they are in some way alike.

by the same token in like manner

in similar fashion here in the same way

likewise wherever

Other kinds of transitional words and phrases Clarification

i.e., (from a Latin abbreviation for “that is”) in other words

that is that is to say to clarify to explain

to put it another way to rephrase it

granted it is true

naturally of course

finally lastly

in conclusion in the end

to conclude

Intensification

in fact indeed no

of course surely to repeat

undoubtedly without doubt yes

for this purpose in order that

so that to that end

to this end

in brief in sum

in summary in short

to sum up to summarize

Works Cited

Ackerman, Diane. “I Sing the Body’s Pattern Recognition Machine.” The New York Times , 15 June 2004. https://www.nytimes.com/2004/06/15/science/essay-i-sing-the-body-s-pattern-recognition-machine.html . Accessed 6 June 2018.

Birge, Edward Asahel. Plankton Studies on Lake Mendota . Harvard University Library of the Museum of Comparative Zoolog., 1897.

“Past presidents and chancellors.” Office of the Chancellor , University of Wisconsin-Madison, 2016. https://chancellor.wisc.edu/past-presidents-and-chancellors/ . Accessed 16 June 2018.

Thompson, Derek. “A World Without Work.” The Atlantic , July/August 2015, https://www.theatlantic.com/magazine/archive/2015/07/world-without-work/395294/. Accessed 14 June 2018.

Van Eyck, Masarah. “Lake Mendota: a scientific biography.” L&S News , College of Letters and Sciences University of Wisconsin-Madison, 29 Aug. 2016. http://ls.wisc.edu/news/lake-mendota-a-scientific-biography . Accessed 15 June 2018.

Williams, Joseph M. and Joseph Bizup. Style: Lessons in Clarity and Grace . 12 th ed., Pearson, 2017.

Improving Your Writing Style

This is an accordion element with a series of buttons that open and close related content panels.

Clear, Concise Sentences

Use the active voice

Put the action in the verb

Tidy up wordy phrases

Reduce wordy verbs

Reduce prepositional phrases

Reduce expletive constructions

Avoid using vague nouns

Avoid unneccessarily inflated words

Avoid noun strings

Transitional Words and Phrases

Using Transitional Words and Phrases

Table of Contents

Ai, ethics & human agency, collaboration, information literacy, writing process, transitions – transition words – transitional phases.

• © 2023 by Joseph M. Moxley - University of South Florida , Barbara McLain - The Out-of-Door Academy

Transitions are a lifeline for readers, listeners, users —a kind of conceptual superglue . Transition words and traditional phrases are crucial to helping audiences keep track of the author's reasoning and purposes for writing. Learn to identify when transitions are warranted in your work and the work of others. Distinguish between effective and ineffective transitions.      

What are Transitions? Transition Words? Transition Phrases?

Transitions, Transition Words , Transitional Phases—these terms concern authors’ efforts to design the flow of information in a text in ways that promote clarity , brevity ,  simplicity ,  flow ,  unity for readers, listeners, users .

Accomplished writers understand interpretation is challenging. They understand readers can lose track of the big picture—the writer’s purpose , thesis , research question . Thus, when revising and editing , writers are careful to check the flow of information across words , sentences , paragraphs . They seek to identify and rewrite choppy spots in their writing when readers ask, “Why am I being given this information? So What? How does this relate to what’s been said thus far?”

Transitions refers to

• the act of shifting the focus in discourse from one idea, process, state, experience to something new
• the convention that writers address information literacy practices and perspectives when they cite textual evidence or empirical evidence
• efforts to clarify a text’s organizational schema,

Transition Words & Phrases are words and phrases (aka signs or signposts) that writers and speakers use to help their readers, listeners, or users understand the flow of information across a text .

Transitional Words refers to elements of spoken and written language (e.g., words, phrases, sentences, paragraphs, and sections) that authors use to help audiences understand the flow of information across a text .

• Transitions may be referred to as sticky points, wounds, seques, gaps
• Transition Words may also be referred to as transitional language , linking language, explanatory language, metalanguage, pivoting, signposting

Related Concepts: Communication ; Information Architecture ; Organization ; Organizational Schema; Rhetorical Analysis ; Rhetorical Reasoning ; Unity

Why Do Transitions Matter?

For readers, listeners, users , transitions are a lifeline —a kind of conceptual superglue . Transition words are crucial to helping audiences keep track of the author’s reasoning and purpose for writing.

At any given moment, people experience a tsunami of information coming at them at warp speed. When reading or listening, people may be distracted by any number of other things—an email, a plane flying overhead, a social media post, a poignant memory, a stock market crash. Their own personal concerns or a nudge from social media may get them off task in a jiffy.

Writers and speakers use transitions to keep the audience’s focus on their narrative , thesis , research question , hypothesis.

Function of Transition Words & Transitional Phrases

Transition words and transition phrases may be categorized by their rhetorical function —aim of discourse, as illustrated in Table 1 below.

Best Transition Words for Essays

The best transition words are the ones that best match your rhetorical situation .

In order to identify the best transition words for an essay you are writing, you should first engage in rhetorical analysis and rhetorical reasoning . Subsequently, you can then make rhetorically informed decisions regarding the appropriate persona , tone , and voice you should adopt when you begin your composition .

Sample Questions for Rhetorical Analysis of Transitions

In order to select appropriate transitions and transitional words for your texts , engage in rhetorical analysis . Ask yourself,

• What is my purpose (aka aim) ? What am I attempting to accomplish?
• If so, you may not even need transitions.
• Then you’ll need extensive transitional language to help your readers follow your reasoning.
• Are there any genre considerations or media considerations that inform your readers’ expectations regarding effective or ineffective uses of transitional language ?

Academic Writing Prose Conventions

Transition words in academic essays and academic writing in general tend

• to use formal diction .
• Academic essays often express transitions in paragraph form at the beginning of texts and interspersed between major sections
• to reflect the information literacy perspectives & practices of their intended audiences.

Template for Transitions in Academic Writing

Below are examples of common transitions in academic writing genres.

Professional Writing Prose Conventions

Transition words in professional writing (aka workplace writing ) are similar to those in academic writing . However, there are a few distinctions: workplace writing tends to rely more on headings and visual language than rely on paragraph-style transitions like those used in academic writing.

Transitions & Invention

For writers, transitions across topics can spark invention . Sometimes when revising, when looking in between sentences and paragraphs to check them for clarity , writers identify breakdowns in their reasoning or gaps in scholarly conversations or discover entirely new things to say.

How to Edit Transitions & Transition Words

Teachers and critic s write Transition? on texts when they

• They don’t understand why they are being told what they are being told.
• believe a t ransitional word or a transitional phrase is superfluous or used incorrectly (see Brevity )

You will find it helpful to examine your use of transition words if you have been told your organization needs work or that your writing is awkward or choppy .

Step 1: Rhetorical Analysis

First, make sure your transitions are appropriate for the rhetorical situation you are addressing. For example, if you are addressing a loved one in a personal note, you would want to use “also” instead of “moreover.”

Check, in particular, the tone and diction level of your transition words.

Step 2: Textual Analysis

When you revise , edit , or proofread your documents, you should consider whether or not you have provided sufficient transition s and transition words .

• between and within sentences : Transitional words or phrases are used to create connections between sentences, as well as within sentences; both uses enhance the progression of ideas at the sentence level .
• between paragraphs :  Transitional sentences are used to create a bridge between paragraphs. These sentences should provide a summary of the main idea of one paragraph and give the reader a clue as to what is coming in the next paragraph (Internal link to: relate paragraphs logically to previous paragraph(s).
• between sections :  Transitional paragraphs are used in longer works to summarize the discussion of one section and introduce the reader to the concept(s) presented in the next section.

Also, be sure to double check that you have avoided tedious repetition. Remember, when it comes to transition words, less is more. When possible, you want to vary your transition words.

Example of Unvaried transitional language that creates a primer-like style:

We went to the national mall. Then we visited the Air and Space Museum. Then we stopped for lunch at Jaleo.

Varied transitional language : To start the day, we went to the national mall. After a stroll around the reflecting pool, we visited the Air and Space Museum. When we couldn’t walk another step, we stopped at Jaleo for lunch.

Related Concepts

Transitions, Transition Words, Transitional Language — these concepts are intertwined with information architecture , organizational schema (aka organizational scaffolding), and recent research on cognitive development and learning science theory.

Transitions & Transition Words are a major textual attribute of a reader-based prose style , an academic prose style , and a professional writing prose style (aka workplace writing style).

In contrast, writer-based prose lacks needed transitions and transition words .

Brevity - Say More with Less

Clarity (in Speech and Writing)

Coherence - How to Achieve Coherence in Writing

Flow - How to Create Flow in Writing

Inclusivity - Inclusive Language

The Elements of Style - The DNA of Powerful Writing

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What is a Transition? Definition, Examples of Transitions in Writing

Home » The Writer’s Dictionary » What is a Transition? Definition, Examples of Transitions in Writing

Transition definition: Transitions are words or phrases that are used to connect one idea to the next when writing.

What is a Transition?

Transitions are words or phrases that are inserted into writing in order to connect thoughts and ideas. These allow for the reader to easily follow the progression of the writing by adding flow.

Example of a Transition

When writing a step-by-step guide to how to do something, people often used numerical transitions such as first, second, and third in order to help the audience understand the separate steps involved.

Where Are Transitions Used?

Between sections : In lengthy writing, transitions are used between sections in order to summarize what has been already explained as well as introduce future material. For example, in history textbooks, the writers may include transitions between chapters in order to provide connections between the historical events.

Between ideas : Transitions are important to use between ideas in order to separate the individual thoughts. An example could be when giving people options to choose between, a person would want to add a transition in order to identify they have moved on to a new choice.

Between paragraphs : When including transitions between paragraphs, it is important to identify the connection between the two in order to effectively move from one paragraph to the next. Often times, a good way to this is to read the last sentence of the first paragraph and the first sentence of the second in order to find a connection. For example, when offering two sides to a situation, the transition word however could be a good connector between two paragraphs.

Within paragraphs : It is also important to include transitions within paragraphs so the thoughts within the section flow from one to the next in an organized manner. If the writer is talking about an idea and then wants to provide an example to illustrate, the transition for example will help the reader transition.

The Function of Transitions in Literature

Transitions are important in literature in order to help the reader understand the writing. They allow for the story to flow from one thought to the next allowing for the reader to build upon the ideas without having to think too hard in order to put them together.

Without effective transitions, writing may become ineffective and confusing.

In James Hurst’s “The Scarlet Ibis” the power of transitions is evident in order to show a character’s change of thought. First, let’s take a look at an example in which the transition word has been removed:

• “It was bad enough having an invalid brother, but having one who possibly was not all there was unbearable, so I began to make plans to kill him by smothering him with a pillow…one afternoon as I watched him, my head poked between the iron posts of the foot of the bed, he looked straight at me and grinned.”

Second, let’s look at the line with the transition word in order to compare the difference:

• “It was bad enough having an invalid brother, but having one who possibly was not all there was unbearable, so I began to make plans to kill him by smothering him with a pillow. However , one afternoon as I watched him, my head poked between the iron posts of the foot of the bed, he looked straight at me and grinned.”

By adding the transition word however , it signals to the reader that the narrator’s attitude toward his brother changed. Without the transition word, the change would be ambiguous.

Transition Examples in Literature

In John Boyne’s The Boy in the Striped Pajamas , he uses the transition phrase “ some days later” in order to denote a change in time between chapters.

• “Some days later Bruno was lying on the bed in his room, staring at the ceiling above his head”

Carrie Brownstein includes the transition “nevertheless” in her memoir Hunger Makes Me a Modern Girl in order to show that she is adding to a previous point that she made:

• “I really didn’t want to go to Western Washington University. I had no plan, and I left for the northern part of the state knowing only that I would not be there long. Departing for a departure. Nevertheless , I went through the motions.”

Summary: What are Transitions?

Define transition in literature: In summation, transitions are words are phrases that are used to connect thoughts or ideas together in a manner that helps the writing flow for the reader to limit confused or misunderstanding.

Final Example:

In Erik Larson’s The Devil in the White City , he uses the transition word however in order to show contrast between two ideas:

• “Yes, he said, he was sure of it: The man in the photograph had come to his hotel…It was the children, however , that he remembered the most clearly, and now he told the detectives why.

33 Transition Words and Phrases

Transitional terms give writers the opportunity to prepare readers for a new idea, connecting the previous sentence to the next one.

Many transitional words are nearly synonymous: words that broadly indicate that “this follows logically from the preceding” include accordingly, therefore, and consequently . Words that mean “in addition to” include moreover, besides, and further . Words that mean “contrary to what was just stated” include however, nevertheless , and nonetheless .

as a result : THEREFORE : CONSEQUENTLY

The executive’s flight was delayed and they accordingly arrived late.

in or by way of addition : FURTHERMORE

The mountain has many marked hiking trails; additionally, there are several unmarked trails that lead to the summit.

at a later or succeeding time : SUBSEQUENTLY, THEREAFTER

Afterward, she got a promotion.

even though : ALTHOUGH

She appeared as a guest star on the show, albeit briefly.

in spite of the fact that : even though —used when making a statement that differs from or contrasts with a statement you have just made

They are good friends, although they don't see each other very often.

in addition to what has been said : MOREOVER, FURTHERMORE

I can't go, and besides, I wouldn't go if I could.

as a result : in view of the foregoing : ACCORDINGLY

The words are often confused and are consequently misused.

in a contrasting or opposite way —used to introduce a statement that contrasts with a previous statement or presents a differing interpretation or possibility

Large objects appear to be closer. Conversely, small objects seem farther away.

used to introduce a statement that is somehow different from what has just been said

These problems are not as bad as they were. Even so, there is much more work to be done.

used as a stronger way to say "though" or "although"

I'm planning to go even though it may rain.

in addition : MOREOVER

I had some money to invest, and, further, I realized that the risk was small.

in addition to what precedes : BESIDES —used to introduce a statement that supports or adds to a previous statement

These findings seem plausible. Furthermore, several studies have confirmed them.

because of a preceding fact or premise : for this reason : THEREFORE

He was a newcomer and hence had no close friends here.

from this point on : starting now

She announced that henceforth she would be running the company.

in spite of that : on the other hand —used when you are saying something that is different from or contrasts with a previous statement

I'd like to go; however, I'd better not.

as something more : BESIDES —used for adding information to a statement

The city has the largest population in the country and in addition is a major shipping port.

all things considered : as a matter of fact —used when making a statement that adds to or strengthens a previous statement

He likes to have things his own way; indeed, he can be very stubborn.

for fear that —often used after an expression denoting fear or apprehension

He was concerned lest anyone think that he was guilty.

in addition : ALSO —often used to introduce a statement that adds to and is related to a previous statement

She is an acclaimed painter who is likewise a sculptor.

at or during the same time : in the meantime

You can set the table. Meanwhile, I'll start making dinner.

BESIDES, FURTHER : in addition to what has been said —used to introduce a statement that supports or adds to a previous statement

It probably wouldn't work. Moreover, it would be very expensive to try it.

in spite of that : HOWEVER

It was a predictable, but nevertheless funny, story.

in spite of what has just been said : NEVERTHELESS

The hike was difficult, but fun nonetheless.

without being prevented by (something) : despite—used to say that something happens or is true even though there is something that might prevent it from happening or being true

Notwithstanding their youth and inexperience, the team won the championship.

if not : or else

Finish your dinner. Otherwise, you won't get any dessert.

more correctly speaking —used to introduce a statement that corrects what you have just said

We can take the car, or rather, the van.

in spite of that —used to say that something happens or is true even though there is something that might prevent it from happening or being true

I tried again and still I failed.

by that : by that means

He signed the contract, thereby forfeiting his right to the property.

for that reason : because of that

This tablet is thin and light and therefore very convenient to carry around.

immediately after that

The committee reviewed the documents and thereupon decided to accept the proposal.

because of this or that : HENCE, CONSEQUENTLY

This detergent is highly concentrated and thus you will need to dilute it.

while on the contrary —used to make a statement that describes how two people, groups, etc., are different

Some of these species have flourished, whereas others have struggled.

NEVERTHELESS, HOWEVER —used to introduce a statement that adds something to a previous statement and usually contrasts with it in some way

It was pouring rain out, yet his clothes didn’t seem very wet.

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Florida State University

FSU | Writing Resources

Writing Resources

The English Department

• College Composition

Transitions

Out of sequence: organization and transition exercise.

• “AC/DC? No, AB/BC!”Out of Sequence: Organization and Transition Exercise

Picturing Transitions: Narrating Scene Shifts

Looking for connections between ideas, don’t take this exercise for granted: transitions.

• Puzzle Pieces: Effective Transitions 

Purpose:  This activity challenges students to order paragraphs logically and create smooth transition sentences, teaching them to effectively organize their ideas and effectively transition from one idea to the next.

Description : This exercise asks students to reorder paragraphs and construct transitions using the essay  “Tied Together by Haunting”  by Teri Bruno, which can be found in  Our Own Words: A Students Guide to First Year Composition .

Suggested Time : 30 minutes

Procedure: 

• Provide each student with a copy of Bruno’s essay out of sequence (copied below). In a computer classroom, this may be done digitally.
• Instruct the students to a) read the essay, b) evaluate its overall organization and renumber its paragraphs accordingly, and c) support this re-organization by writing transitional sentences. Tell students to continue one paragraph where another ends, highlighting key ideas, phrases and words from the previous paragraph in order to create a logical progression. Note: Obviously the introduction paragraph (once it has been identified) will not need a transition.
• Give the students ample time to complete the exercise. Walk around and answer questions if necessary.
• After students have finished, have them volunteer to share their results with the class via projector or doc cam. Compare/contrast results with original out-of-sequence essay. Discuss what changes were made and why.

“Tied Together by Haunting” by Teri Bruno

Paragraph 1,  but should be Paragraph ___

While first person perspective is very common in stories because it allows the author to step into the role of one character and give the readers intimate details, the point of view in “Lucky Chow Fun” is essential to lead the readers into the mind and thoughts of the main character, a round and unattractive teenage girl named Lollie. The readers can see the small town of Templeton through Lollie's eyes, and this especially important when the town is hit by a huge event, the discovery that the local restaurant called Lucky Chow Fun was a secretive whorehouse. When Lollie was in the parking lot of the restaurant one night before the event, she almost knocked into one of the many Chinese girls who worked there, simply mumbling and stepping away, not really looking at the girl she had almost trampled because “nobody in Templeton cared to figure out who the girls were” (8). Yet Lollie vividly describes the girls, saying the girls were like “ghosts in white uniforms chopping things, frying things, talking quietly to one another” (9). When she hears on the news the next day that one of the girls died, and this lead to the discovery of the whorehouse, Lollie is shocked and we see the impact that the tragedy has not only on her, but on the town. Her mother’s boyfriend had apparently been one of the names on the list to visit Lucky Chow Fun, and numbers of wives discovered their husbands’ unfaithfulness, leading to a scandal in the town and casting the Chinese girls as the enemies. Though Lollie admits that she forgot about the poor Lucky Chow Fun girls, years later she dreams about “the seven ghosts” and imagines the terrible events that they had to endure. It is important that Groff uses Lollie’s perspective in this story, the perspective of a girl the same age as the girls who were discovered to have been taken from their homes in China and placed into a whorehouse. In this way, the first person perspective serves to take the readers on the journey of a coming-of-age event that greatly impacts Lollie.

Paragraph 2,  but should be Paragraph ___  

Although second person narration is rare, it is absolutely vital to the story called “Watershed.” Often times, authors may limit their use of this point of view because it is an intimate perspective in which the story tells the reader what to think and feel. Yet this is Groff’s goal in this particular story. Celie, the narrator, recounts the details of her marriage to a specified “you,” who readers discover is her husband. With her profession in the story being a storyteller, it is fitting that Groff chose to use this point of view. As the story continues, Celie reveals that her husband is dead. After Celie starts an argument about how she hates the town and all the people in it, her husband leaves in a rain storm and ends up hydroplaning and crashing his truck into a tree which sticks a branch through his chest. He dies later in the hospital from Hydrocephalus. Groff’s use of the second person point of view turns the reader into the character of the dead husband, which is who Celie is ultimately addressing. She is retelling the tale to him, almost as if by his bedside, hoping he will wake up. Celie asks whether she imagined, “the tightening of your thumb on my palm” (Groff 186). It helps the reader understand Celie’s grief about the loss of her husband and the guilt that she feels. However, when Celie reveals later that “I see you now just leaving rooms I am in,” the reader can see that she is still haunted by the incident (188). By using this perspective, Groff allows the readers to fully grasp the vulnerable and stricken state of Celie, who is intimately recounting their relationship to her dead husband.

Paragraph 3,  but should be Paragraph ___

Overall, however, the reader wonders why Groff might have chosen birds as a major theme throughout her collection. As Connie Ogle states in the Miami Herald, “the women in Lauren Groff’s debut story collection exist in varying stages of unrest” (Ogle 1). These women are emotionally trapped and are struggling to break free and fly. Groff uses the birds to convey the point that all women go through experiences in which they must learn lessons and try to overcome challenges given to them.

Paragraph 4,  but should be Paragraph ___

Throughout the story, water appears in many of the scenes. “Watershed” starts off with a diver telling a couple a story about how he once went down with a diving buddy, and upon realizing that his partner was falling down into an abyss, the diver saved him because he had never felt a purer love for a human being. Later in the story, however, when the woman is at the funeral for her husband, the diver approaches the woman again and retells the tale. The diver actually doesn’t save the man and just lets him go while he floated in the water suspended alone. In both occurrences, the diver’s story is parallel to the state of the couple. When they were together and in love, the diver saved the man. When the woman was left alone by the tragic death of her husband, the diver too had stood alone. However, as Claire Hopley states in the Washington Post, “his reminders of the people that may never have emerged from its depths are eerie and alarming” (Hopley 1). The revision to the diver’s story is a turning point for Celie. He says that the love was all true, but only after he couldn’t see him anymore, when he was “just staring down into that trench, just suspended there alone” (Groff 190). With the loss of her husband, Celie is alone as well, and the diver’s story is tied to hers not only in the deaths due to water, but also in their realization of the love they have for the people they lost. Groff uses water because of its unruly nature, and it parallels the major and unforeseen events that occur in Celie’s life. John Marshall, a book critic who wrote for the Seattle Post, describes Groff’s thematic specialty as “where her perceptive vision is focused - turns out to be turning-point moments, often for women characters - turning-point moments sometimes not recognized as that until it is too late” (Marshall 1).

Paragraph 5,  but should be Paragraph ___

Despite Groff’s varying perspectives on stories and use of themes to help convey her messages, there is one story in particular that weakens her collection. “Fugue” is a story that is very complex and takes time coming together. Groff presents three different sub-stories and then attempts to tie them all together at the end. To the reader, the story stretches out a bit too long, and the readers are in a circle of sub-stories, wondering what the point is. As John Marshall states, “ Groff’s arching ambition for the story results in too many details withheld in hopes of adding mystery, too many characters and their too complex personal stories, too much confusing artifice” (Marshall 1).

Paragraph 6,  but should be Paragraph ___

In the small town that the couple lives, it rains constantly. The husband dies because he hydroplaned while driving in his truck and a tree branch smashed through his chest. Ultimately, though, he dies of Hydrocephalus, otherwise known as “water in the brain.” When the woman is driving home during one of her college years, she hears on the radio that an old couple died by jumping into the Niagara Falls together. These themes of water tie into the concluding paragraph and the point of Groff’s story, that “there is no ending, no neatness in this story. There never really is, where water is concerned” (Groff 192). This ending is not necessarily described as a happy one in which the conflict is resolved with a simple solution or the conflict was simply an illusion or a dream. But it is satisfying in the sense that the readers can relate to how Celie has changed and is coping with the unfortunate events that have occurred in her life.

Paragraph 7,  but should be Paragraph ___

In “Watershed,” for example, when Celie’s husband says that he wants to build her a house before they get married, he states that “every bird needs her nest” (171). It is this sentence in particular that casts fear and doubt in Celie. As she looks back on this incident as she tells the story, she says that it was her fault she didn’t say what she should have, that she “wasn’t the bird type, or maybe the nest type” (172). It is clear from Celie’s thoughts that she fears being constrained and that she is different from the typical flock of birds. Instead, Celie tends to stray from the flock of birds that is the traditional small town in which she now lives with her new husband.

Paragraph 8,  but should be Paragraph ___

In “Delicate Edible Birds,” we also see the character of Bern struggle when she is presented with a delicacy of a tiny bird while eating dinner with her lover, the Mayor of Philadelphia, in France. While everyone else veiled their faces with napkins as they ate the birds, Bern wrapped the bird in a napkin and later dropped the carcass from the hotel balcony, “setting it free, she thought, though it dropped like a lead weight to the ground for some prowling beast to eat” (Groff 288). This occurrence is important because it helps the readers later understand why Bern, who is notorious for having affairs and sleeping with lots of men, refuses to have sex with the Fascist man who is keeping them hostage and will let everyone free if she complies. She too wants to be free, and holds to her choice of not having sex with their captive. Yet as the time nears when the Nazis might come and find them, the men start to urge Bern to comply with the man’s wishes. Bern is the bird, trying to set herself free, but who gets dropped to the ground like the lead weight and has sex with the prowling beast.

Paragraph 9,  but should be Paragraph ___

Groff uses the third person omniscient perspective, another fairly rare point of view because the author can give the readers access into any characters’ thoughts and feelings. Though the majority of the story is in the perspective of the woman character, Bern, occasionally the story flips into the perspective of one of the four men. Groff puts us in the mind of all the four men at one point or another in the story. She does this for one reason in particular, which is so the readers can understand the various perspectives on the conflict with Bern. The five characters in the story, four men and one woman, are all journalists, with the exception of one who is a photographer. Set during World War II, the group is following news of the war, and their car breaks down just outside of Paris in front of a fascist man’s house, who demands that Bern have sex with him. When Bern refuses to have sex with him, the fascists man holds them hostage but will let everyone go if she complies. At first, all the men seem to understand. However, as the time draws nearer to when the Nazis will possibly come for them, Groff allows us into their minds and we understand why they start to change their perspective on Bern having sex with the man. While at first the men claimed that “nothing of the sort can happen, of course” and that there was “no question...for the principle of the thing” the men all have different reasons for wanting to be free from the threat of the oncoming Nazis (285). Parnell has a family back home in England, and Lucci has a wife who has disappeared, yet he still wants to live in hopes that she is alive. The men slowly start to believe that Bern, who is notorious for sleeping with numbers of men, should “just do it and get it over with” and when all of them turn their backs on her, she complies, crushed and confused as to what has changed their minds (286). Despite this all-knowing perspective, Groff only goes into the minds of others on a need-to-know basis. As Carolyn See states in a piece on point of view, an author should only go into a character’s mind “if they absolutely need to think or feel something…otherwise, let them alone” (See 151). Without the use of this all-knowing perspective, the readers wouldn’t have the insight into the men’s minds to understand their desperation and reasons why they eventually disregard Bern and all quietly agree that she needs to comply.

Paragraph 10,  but should be Paragraph ___

Birds also serve as an important theme in “Lucky Chow Fun.” Lollie’s younger sister, Pot, collects taxidermied birds that are scattered around her bedroom. However, Lollie avoids her room as much as possible because she had “one particular gyrfalcon perched on her dresser that seemed malicious, if not downright evil, ready to scratch at your jugular if you were to saunter innocently by” (3). Though the birds are an escape for Pot, they serve to parallel the girls who work at the whorehouse. Groff does not use real birds, but instead decides that Pot will have a collection of stuffed birds who sit on shelves, quiet, fake, and dead on the inside. In a similar way, Lollie describes the girls at Lucky Chow Fun as ghosts, yet they more so resemble the birds. The girls were always quiet, only speaking softly to each other, and though they were alive, they weren’t really living. Lollie later describes the girls as “wordless, as always” (39). Lollie’s reaction to the birds mirrors the girls. She tends to avoid them. On the outside, they resembled people, like the taxidermied birds resembled live birds, however on the inside, they too were stuffed and mind as well have been sitting on Pot’s shelf.

Paragraph 11,  but should be Paragraph ___

In many of the endings, the reader can infer from the various point of views that the characters will still be struggling. In “Watershed,” for example, the last few paragraphs no longer address Celie’s husband but instead focus on her coming to terms with his death. Celie’s husband is still dead, and she must come to the harsh reality that there are things in life that are out of her control. Groff shies away from taking the easy way out in her stories, and prefers to end the stories more realistically. In an ideal world, Bern probably would have held to her morals and not have slept with the Fascist, while Lucky Chow Fun wouldn’t have turned the small town of Templeton into a mass of scandal that broke families apart. However, Groff paints realistic characters by making them not always take the right path, by questioning their morals, and by not coming to a complete realization of who they are. In this way, Groff pulls empathy from her readers, and portrays situations and decisions that people can relate to. Lauren Groff best sums up her idea of happy endings in her first story, “Lucky Chow Fun”: and it is a happy ending, perhaps, in the way that myths and fairy tales have happy endings; only if one forgets the bloody, dark middles, the fifty dismembered girls in the vat, the parents who sent their children into the woods with only a crust of bread. I like to think it’s a happy ending, though it is the middle that haunts me (Groff 39). And though our own personal stories and lives have middles that are haunting, they are the very strings that Groff uses to tie our experiences to her stories, giving us reassurance that we are not alone in our challenges.

Paragraph 12,  but should be Paragraph ___  

Ever since I was young, whenever I cracked open a book or sat in front of the television watching a movie, I always wished for a happy ending. Anxiously, I would sit squeezing my fingers together, hoping the prince would save the princess, the animals would find their way back home, and the hero would conquer the villain. However, happy endings are rarely realistic and hardly convey the true resolutions to life’s messy conflicts. In Lauren Groff’s  Delicate Edible Birds , the author employs several methods of delivering perspective, while threading a constant theme throughout her stories in order to evoke empathy in the readers without simply supplying a happy ending. ­­­­­

Works Cited

Groff, Lauren. Delicate Edible Birds. New York: Hyperion, 2009.

Hopley, Claire. "Tales of Tough Women." 22 Feb. 2009. LexisNexis. 10 Nov. 2009.

Marshall, John. "Short Story Collection's Dazzling Variety Spans Decades and Continents." 02 Feb. 2009. LexisNexis. 10 Nov. 2009.

Ogle, Connie. "Female Characters Discover Hardships and Joys of Life." 01 Feb. 2009. LexisNexis. 10 Nov. 2009 .

See, Carolyn. Making a Literary Life. New York: Random House, 2002. Print.

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“ac/dc no, ab/bc” arrangement for transition and emphasis.

Purpose:   This brief editorial exercise shows students how transitions are created through arrangement and how arrangement can be used to emphasize points. Since this exercise is based on arranging pieces, its best used when pieces are available—a paper’s paragraphs, a paragraph’s sentences, or even audio tracks. Students will practice arranging those pieces, “bonding” them to create transitions and emphasis. Completing this exercise provides practice with close-editing skills and teaches students to attend to arrangement.

Description:  This exercise requires, at minimum, paper and pencil for the student and a chalkboard for the instructor. Students will either bring a brief writing sample to class or write a short piece when class begins. The instructor will then explain the idea of “bonding” two units of text (paragraphs, sentences, etc.) by overlapping the content located in one’s ending and the other’s beginning. Students will then practice this concept by rearranging their writing sample in a similar manner.

Suggested Time:

• 40 minutes (if sample is provided by instructor or is brought to class by students)
• 50 minutes (if writing sample is written in class)
• Two 20-minute periods over two days if the revision section is assigned as homework
• Either assign students to bring a sample to class or begin class by having them write a short piece—minimum of 2 paragraphs with a total of at least 10 sentences. This minimum is necessary for students to practice arrangement of sentences as well as arrangement of paragraphs in a single session.
• The instructor will explain the concept of “AB/BC” organization: Each sentence has two parts: the beginning content (A) and the end content (B). Like notation for a poem’s rhyme schemes, new content can be labeled with a new letter (A is B. C is not D.) with repeated content using the same letter (A is B. B is not C). To create emphasis and clear transition between the first sentence (1) and its following sentence (2), there should be some overlap and repeats in the content that ends the first sentence and begins the second. For example, in the following sample section the words “sentence” and “focus” repeat, emphasizing those words while at the same time creating transitions between the sentences:  The strongest part of a paragraph (1A) is at the end of the paragraph’s first sentence (1B). That sentence (2B) will set up the paragraphs' focus (2C). Focus (3C) is especially important when...
• To visual this point, the instructor may show the students a short video clip and discuss how directors will often use the same cues when making large leaps. For example, towards the end of  Cast Away , Tom Hank’s character (1A) lays on his raft while a ship passes before him. He cries out his love’s name: “Lilly!” (1B) and the audience hears the ship’s rhythmic siren (1C). The scene then cuts to a kitchen, Close up on a phone. It’s ringing with a rhythm and pitch similar to the siren’s (1C). The camera pans back. There’s Lilly (1B). She answers the phone.
• After the lecture on AB/BC arrangement, the students should be given 15 minutes to rearrange their writing sample’s sentences, rewriting sentences if necessary. After that, 5 minutes should be spent on rearranging the writing sample’s paragraphs, revising the beginning and ending sentences as necessary.
• For the last 10 minutes of class, the instructor should lead a discussion in which the students discuss their challenges with the exercise. They should also share samples of their rearranged sentences, reading both the original and the revision.
• Alternately, the instructor can collect the original and its revision and compile a selection of samples to show the class at the start of the next session. This way the instructor can use the assignment as a transition to the next class, practicing the lesson upon the framework of the class itself. Like showing the video, this draws attention to how many types of compositions, not just paragraphs and sentences, can be arranged with an awareness of overlapping beginnings and endings.

Additional Information:  The core exercise can be done in one 50 minute session: 10 minutes to write a brief piece; 10 minutes to establish the concept of AB/BC bonding; 15 minutes to rearrange the writing sample’s sentences; 5 minutes to rearrange the writing sample’s paragraphs, and 10 minutes of discussion. Alternately, if a 5-minute video is incorporated in the lecture portion of class, 5 minutes may be removed from the discussion portion.

Media-based and Peer-Review-based Variables:  This exercise can be incorporated into peer review sessions. (“Rearrange the sentences/paragraphs in your peer’s paper to create emphasis and/or transitions where needed.”) If using media such as audio files, rearrangement may take be assigned as homework. (“Rearrange these 5 music tracks to make a mix, paying attention to arrangement and how the songs transition. Write one double-spaced page that defines the playlist and explains the reasoning behind your chosen arrangement.”)

Purpose:   This activity will help students create effective transitions between paragraphs and topics in their writing. It should also get them to think about how transitions help to guide the reader through their work.

Description:  This activity forces students to think outside of the box and consider the function of transitions in their writing.

Suggested Time:  40-60 minutes

Procedure:  Divide your class into groups of 4-5 and bring in enough magazines for each group to have at least two (check the magazine racks around campus if you need extra copies). Also, bring in scissors so that they can cut pictures from the magazines.

This is a four part collaborative exercise: 1) cutting images out, 2) writing descriptions, 3) creating transitions, 4) sharing and discussing the work.

Explain that they will be working on developing effective transitions by connecting different scenes that possess no direct relationship with one another. They will cut out pictures from a magazine, generate short descriptions of the scenes, and then link them with one another by constructing effective conclusions and introductions that weave the scenes together. However, instead of one group doing all three processes, groups will pass the work they do for one part of the assignment to a neighboring group so that a different group is engaged in each phase of the process. The fact that other groups will be completing the work should encourage students to come up with out of the box images and/or descriptions, fueling creativity and a sense of competition. Inform them that what they create will be shared with their peers.

• Have students cut out four pictures. Tell them to try and find the most unrelated, crazy images possible (10 minutes). Note: Reduce the images to three if you are under significant time constraints.
• Have them pass their images to the right and then ask each group to create a short narrative of the scene (what is going on, etc.). However, also ask them to take a specific, unified rhetorical approach. For example, they might take a narrative approach and write from a single character's perspective or write from a specific analytical perspective and treat it like a research paper or expository piece (e.g. famous vacation spots or best spots around town). Tell them not to spend too much time on writing for one image and to write only three-four sentences for each. (10-15 minutes)
• Have them pass the images and descriptions to the right and ask each group to create introductory and conclusion sentences that weave together each scene. Be sure to tell them not to become too clichéd in their process and to avoid redundancy (e.g. simply writing next I went to the mall and now I'm at the mall when someone is traveling from a beach scene is not acceptable). Encourage creativity and critical writing. (10-15 minutes)
• Share what students have written. Everyone should enjoy seeing how the scenes they picked out were described and how their descriptions were linked to each other. After each reading, discuss what was strong and weak about each piece (in a constructive, positive manner, of course). If necessary, this last part can be delayed until the following class, giving you time to look over the responses. (10-20 Minutes)

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Purpose:  This exercise aims to teach students how to construct effective transitions in their writing and look for connections between ideas where a natural link might not be obvious.

Description:  Transitions asks students to link unrelated ideas and discovery new and creative ways of tying together concepts in their writings.

Suggested Time:  About 20 minutes

• Tell them to divide a sheet of paper in half, making two columns. In the left column, have them list what they like about Tallahassee. In the right column, what they dislike. Give them time to make a fairly decent sized list, at least seven or eight in each column. I write my own list on the board.
• Have them randomly circle two ideas in the like column, then two ideas in the dislike column.
• Have them number these four ideas, starting with a like, then a dislike, then back to a like again. e.g. 1) rainbows 2) bloody noses 3) warm soup 4) pop quizzes
• Now begin a discussion about transitions. Ask them if they understand what teachers mean by rough transitions. I explain that the difficulty often arises in people's inability to see the connections between ideas, and one way to get better at that is to practice looking for those connections between ideas which don't seem naturally related.
• Tell them to write, to move from subject one to two to three to four. I explain that a bad transition is one which just jumps suddenly from one idea to another with no idea logically connecting the two. It will probably also be beneficial to explain that good transitions also do not stray too far from the main idea of the writing (i.e. don't just ramble).
• (optional) When they have worked on this for a while, have some people read their pieces out loud. The first people done will probably be the ramblers. Discuss what could be done to tie all of their ideas together.

Purpose:  This exercise encourages students to explore ways of employing effective detail-driven transitions within their writing. By finding common threads, they’ll be able to unify ideas within their papers.

Description:  Students will work to combine significant events, people, or beliefs with effective transitions. This can either be done in groups or individually, depending on how much time you would like to spend. Both ways can benefit from reading Meagan C. Arrastia's "The One I Took for Granted” (2004-2005 McCrimmon Award Winner).

Suggested Time:  For both methods, about 35-40 minutes will suffice.

For Group Paper:

 1. Divide the class into groups of three or four and have them brainstorm on common  themes in their life (ex: "overcoming adversity," "growing pains,"  "influential people," "trips," "beliefs," etc).  2. The students will then list as many important moments or ideas that have defined their lives and that they feel circle around this common theme.  3. The groups will select one event from each member’s list, based on which event sounds the most interesting and that they'd all like to hear more about. It doesn't matter how disparate the events or moments are. As a matter of fact, students should be encouraged to choose events that don't tie together in obvious ways to make their group paper more interesting.  4. Each group member will then freewrite on his or her topic. After 10 minutes,  group members will come back together and share what they have written and try  to figure out how they can string the story together. Ideally, they will work  out ways to transition between the snapshots of the lives of different group  members in an engaging way.

For Individual Paper:  1. Students are asked to choose "a significant person," "a significant  event," and "a significant belief," and list them on a clean sheet of paper. Below each "significant" header, students choose and list three scenes or incidents that are especially vivid about that person, event, or belief. They are encouraged to choose scenes that are far apart in  time and place and perhaps don't seem to connect in obvious ways.  2. Students then trade their paper with classmates; at least six or seven other people. Each classmate votes for which topic sounds the most interesting, based on the "scenes" listed. With that many opinions, they can see where the reader's interests lie.  3. When students get their sheets back, they are tied to the topic that received  the most "reader votes." For each scene in that topic, they start listing the personal emotions they felt, the adjectives that describe the person, event, or belief as well as their state of mind. The goal is to keep them from tying their paper together in a simple chronological way, and to order it ideationally. Hopefully, they find that in many of these scenes they were in a similar state  of mind.  4. Have students begin freewriting one of the scenes, and as soon as they find themselves expounding on one of the adjectives or emotions that help tie the scene together, they’ll jump to the next scene (they can always come back later to flesh out the scene fully, but they have the ever-important and ever-missing from freshman writing – transition). They do this until they've tied together all their scenes, and they have the bare bones of a personal experience paper.

Additional Information:  For other ways of "making connections," students could also look at Becky Godlasky's essay "Using Metaphor to Make Connections," which is in The Inkwell. Also look at the Raymond Carver's poem "Sunday Night," in Bishop's  On Writing . (As Bishop writes, "what small, overlooked elements might loom large in your composition?" In other words, how can find unique connections in the minute details of your stories?)

Puzzle Pieces: Effective Transitions

Purpose:  This activity should help students identify effective and creative transitions in the essay by restructuring the final draft. It should also show them how to allow the connecting ideas to serve as the transition in an essay vs. only using one-word transitions. Use with “Adaptations, Limitations, and Imitations,” OOW 2006-2007.

Description:  The author of “Adaptations, Limitations, and Imitations” wrote in a process memo that he/she initially encountered difficulty trying to organize the paper logically, but the final draft was structured beautifully. By cutting up this essay into individual paragraphs, students are forced to seek out connecting ideas as they try to organize the essay in a logical way. Students also see how different organizational structures can significantly change an essay.

Suggested Time:  30-40 minutes

 1. Before class, make five copies of the essay and cut them up, separating the different paragraphs. (Numbering the paragraphs out of order may help in discussion).  2. Divide the class into no more than five groups, with 4-5 students in each group. Give each group one dismantled essay and ask them to put the pieces together in “logical” order. This may take up to 20 minutes.  3. Students should discuss amongst themselves (1) the essay’s progression, (2) what the transitions are, and (3) the lack of “obvious” conclusion (In brief, In Conclusion).  4. As a class, ask students how they organized the essay and why. (This is where the prior numbering would come in handy. For example, the group would be able to easily say “We think paragraph D goes first, etc). Ask them to identify the connecting ideas for each paragraph of the essay (i.e. the second paragraph connects to the introduction because it continues the anecdote about the writer’s sophomore year of high school). If the different groups disagree about where the paragraphs go, ask them to explain why they think.

100 Creative Writing Prompts for Middle & High School – 2024

April 15, 2024

Some high school students dream of writing for a living, perhaps pursuing an English major in college, or even attending a creative writing MFA program later on. For other students, creative writing can be useful for school assignments, in English and other subjects, and also for preparing their Common App essays . In a less goal-oriented sense, daily freewriting in a journal can be a healthy life practice for many high schoolers. Not sure where to start? Continue reading for 100 creative writing prompts for middle school and high school students. These middle/high school writing prompts offer inspiration for getting started with writing in a number of genres and styles.

Click here to view the 35 Best Colleges for Creative Writing .

What are Creative Writing Prompts?

Similar to how an academic essay prompt provides a jumping-off point for forming and organizing an argument, creative writing prompts are points of initiation for writing a story, poem, or creative essay. Prompts can be useful for writers of all ages, helping many to get past writer’s block and just start (often one of the most difficult parts of a writing process).

Writing prompts come in a variety of forms. Sometimes they are phrases used to begin sentences. Other times they are questions, more like academic essay prompts Writing prompts can also involve objects such as photographs, or activities such as walking. Below, you will find high school writing prompts that use memories, objects, senses (smell/taste/touch), abstract ideas , and even songs as jumping-off points for creative writing. These prompts can be used to write in a variety of forms, from short stories to creative essays, to poems.

How to use Creative Writing Prompts

Before we get started with the list, are a few tips when using creative writing prompts:

Experiment with different formats : Prose is great, but there’s no need to limit yourself to full sentences, at least at first. A piece of creative writing can begin with a poem, or a dialogue, or even a list. You can always bring it back to prose later if needed.

Interpret the prompt broadly : The point of a creative writing prompt is not to answer it “correctly” or “precisely.” You might begin with the prompt, but then your ideas could take you in a completely different direction. The words in the prompt also don’t need to open your poem or essay, but could appear somewhere in the middle.

Switch up/pile up the prompts : Try using two or three prompts and combine them, or weave between them. Perhaps choose a main prompt, and a different “sub-prompt.” For example, your main prompt might be “write about being in transit from one place to another,” and within that prompt, you might use the prompt to “describe a physical sensation,” and/or one the dialogue prompts.  This could be a fun way to find complexity as you write.

Creative Writing Prompts for Middle School & High School Students (Continued)

Write first, edit later : While you’re first getting started with a prompt, leave the typos and bad grammar. Obsessing over details can take away from your flow of thoughts. You will inevitably make many fixes when you go back through to edit.

Write consistently : It often becomes easier to write when it’s a practice , rather than a once-in-a-while kind of activity. For some, it’s useful to write daily. Others find time to write every few days, or every weekend. Sometimes, a word-count goal can help (100 words a day, 2,000 words a month, etc.). If you set a goal, make sure it’s realistic. Start small and build from there, rather than starting with an unachievable goal and quickly giving up.

100 Creative Writing Prompts for Middle School & High School Teens

Here are some prompts for getting started with your creative writing. These are organized by method, rather than genre, so they can inspire writing in a variety of forms. Pick and choose the ones that work best for you, and enjoy!

Prompts using memories

• Begin each sentence or group of sentences with the phrase, “I remember…”
• Describe a family ritual.
• Choose an event in your life, and write about it from the perspective of someone else who was there.
• Pick a pathway you take on a regular basis (to school, or to a friend’s house). Describe five landmarks that you remember from this pathway.
• Write about your house or apartment using a memory from each room.
• Write an imaginary history of the previous people who lived in your house or apartment.
• Write about an ancestor based on stories you’ve heard from relatives.
• What’s your earliest memory?
• Who was your first friend?
• Write a letter to someone you haven’t seen since childhood.
• Write about yourself now from the perspective of yourself twenty, or eighty, years from now.
• Write about the best month of the year.
• Write about the worst day of the year.
• Rant about something that has always annoyed you.
• Write about the hottest or coldest day you can remember.
• Visualize a fleeting moment in your life and as though it’s a photograph, and time yourself 5 minutes to write every detail you can remember about the scene.
• Draw out a timeline of your life so far. Then choose three years to write about, as though you were writing for a history book.
• Write about a historical event in the first person, as though you remember it.
• Write about a memory of being in transit from one place to another.

Objects and photographs as creative writing prompts

• Describe the first object you see in the room. What importance does it have in your life? What memories do you have with this object? What might it symbolize?
• Pick up an object, and spend some time holding it/examining it. Write about how it looks, feels, and smells. Write about the material that it’s made from.
• Choose a favorite family photograph. What could someone know just by looking at the photograph? What’s secretly happening in the photograph?
• Choose a photograph and tell the story of this photograph from the perspective of someone or something in it.
• Write about a color by describing three objects that are that color.
• Tell the story of a piece of trash.
• Tell the story of a pair of shoes.
• Tell the story of your oldest piece of clothing.

Senses and observations as creative writing prompts

• Describe a sound you hear in the room or outside. Choose the first sound you notice. What are its qualities? It’s rhythms? What other sounds does it remind you of?
• Describe a physical sensation you feel right now, in as much detail as possible.
• Listen to a conversation and write down a phrase that you hear someone say. Start a free-write with this phrase.
• Write about a food by describing its qualities, but don’t say what it is.
• Describe a flavor (salty, sweet, bitter, etc.) to someone who has never tasted it before.
• Narrate your day through tastes you tasted.
• Narrate your day through sounds you heard.
• Narrate your day through physical sensations you felt.
• Describe in detail the physical process of doing an action you consider simple or mundane, like walking or lying down or chopping vegetables.
• Write about the sensation of doing an action you consider physically demanding or tiring, like running or lifting heavy boxes.
• Describe something that gives you goosebumps.
• Write a story that involves drinking a cold glass of water on a hot day.
• Write a story that involves entering a warm house from a cold snowy day.
• Describe someone’s facial features in as much detail as possible.

Songs, books, and other art

• Choose a song quote, write it down, and free-write from there.
• Choose a song, and write a story in which that song is playing in the car.
• Choose a song, and write to the rhythm of that song.
• Choose a character from a book, and describe an event in your life from the perspective of that character.
• Go to a library and write down 10 book titles that catch your eye. Free-write for 5 minutes beginning with each one.
• Go to a library and open to random book pages, and write down 5 sentences that catch your attention. Use those sentences as prompts and free-write for 5-minutes with each.
• Choose a piece of abstract artwork. Jot down 10 words that come to mind from the painting or drawing, and free-write for 2 minutes based on each word.
• Find a picture of a dramatic Renaissance painting online. Tell a story about what’s going on in the painting that has nothing to do with what the artist intended.
• Write about your day in five acts, like a Shakespearean play. If your day were a play, what would be the introduction, rising action, climax, falling action, and resolution?
• Narrate a complicated book or film plot using only short sentences.
• Read a short poem. Then write a poem that could be a “sister” or “cousin” of that poem.

Abstract ideas as creative writing prompts

• Write about an experience that demonstrates an abstract idea, such as “love” or “home” or “freedom” or “loss” without ever using the word itself.
• Write a list of ways to say “hello” without actually saying “hello.”
• Write a list of ways to say “I love you” without actually saying “I love you.”
• Do you believe in ghosts? Describe a ghost.
• Invent a mode of time travel.
• Glass half-full/half-empty: Write about an event or situation with a positive outlook. Then write about it with a miserable outlook.
• Free-write beginning with “my religion is…” (what comes next can have as much or as little to do with organized religion as you’d like).
• Free-write beginning with “my gender is…” (what comes next can have as much or as little to do with common ideas of gender as you’d like).
• Write about a person or character that is “good” and one that is “evil.” Then write about the “evil” in the good character and the “good” in the evil character.
• Write like you’re telling a secret.
• Describe a moment of beauty you witnessed. What makes something beautiful?

Prompts for playing with narrative and character

• Begin writing with the phrase, “It all started when…”
• Tell a story from the middle of the most dramatic part.
• Write a story that begins with the ending.
• Begin a story but give it 5 possible endings.
• Write a list of ways to dramatically quit a terrible job.
• Write about a character breaking a social rule or ritual (i.e., walking backwards, sitting on the floor of a restaurant, wearing a ballgown to the grocery store). What are the ramifications?
• You are sent to the principal’s office. Justify your bad behavior.
• Re-write a well-known fairytale but set it in your school.
• Write your own version of the TV show trope where someone gets stuck in an elevator with a stranger, or a secret love interest, or a nemesis.
• Imagine a day where you said everything you were thinking, and write about it.
• Write about a scenario in which you have too much of a good thing.
• Write about a scenario in which money can buy happiness.
• Invent a bank or museum heist.
• Invent a superhero, including an origin story.
• Write using the form of the scientific method (question, hypothesis, test, analyze data conclusion).
• Write using the form of a recipe.

Middle School & High School Creative writing prompts for playing with fact vs. fiction

• Write something you know for sure is true, and then, “but maybe it isn’t.” Then explain why that thing may not be true.
• Write a statement and contradict that statement. Then do it again.
• Draft an email with an outlandish excuse as to why you didn’t do your homework or why you need an extension.
• Write about your morning routine, and make it sound extravagant/luxurious (even if it isn’t).
• You’ve just won an award for doing a very mundane and simple task. Write your acceptance speech.
• Write about a non-athletic event as though it were a sports game.
• Write about the most complicated way to complete a simple task.
• Write a brief history of your life, and exaggerate everything.
• Write about your day, but lie about some things.
• Tell the story of your birth.
• Choose a historical event and write an alternative outcome.
• Write about a day in the life of a famous person in history.
• Read an instructional manual, and change three instructions to include some kind of magical or otherwise impossible element.

Prompts for starting with dialogue

• Write a texting conversation between two friends who haven’t spoken in years.
• Write a texting conversation between two friends who speak every day and know each other better than anyone.
• Watch two people on the street having a conversation, and imagine the conversation they’re having. Write it down.
• Write an overheard conversation behind a closed door that you shouldn’t be listening to.
• Write a conversation between two characters arguing about contradicting memories of what happened.
• You have a difficult decision to make. Write a conversation about it with yourself.
• Write a conversation with a total lack of communication.
• Write a job interview gone badly.

Final Thoughts – Creative Writing Prompts for Middle School & High School 

Hopefully you have found several of these creative writing prompts helpful. Remember that when writing creatively, especially on your own, you can mix, match, and change prompts. For more on writing for high school students, check out the following articles:

• College Application Essay Topics to Avoid
• 160 Good Argumentative Essay Topics
• 150 Good Persuasive Speech Topics
• Good Transition Words for Essays
• High School Success

Sarah Mininsohn

With a BA from Wesleyan University and an MFA from the University of Illinois at Urbana-Champaign, Sarah is a writer, educator, and artist. She served as a graduate instructor at the University of Illinois, a tutor at St Peter’s School in Philadelphia, and an academic writing tutor and thesis mentor at Wesleyan’s Writing Workshop.

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