Years ago, while reading C. S. Lewis’s That Hideous Strength, I came across the paragraph in chapter 17 that begins, “It was mid-morning when the man dropped him at a corner beside a little country hotel.” This is a perfect paragraph, I realized, and it was the first time I’d ever experienced the power and artistry of what William Strunk Jr. calls “a convenient unit” that “serves all forms of literary work” (The Elements of Style, rule 13).

Since then, I’ve been on the lookout for perfect paragraphs. They are usually hiding around the corner, part of a series of ordinary paragraphs in a novel or essay, catching me by surprise with their concision, imagery, internal rhythm, completeness, and connection to the paragraphs before and after them.

Rule 12 and Lady Audley's Secret

In The Elements of Style, rule 12, William Strunk Jr. writes, “Choose a suitable design and hold to it ... Writing, to be effective, must follow closely the thoughts of the writer, but not necessarily in the order in which those thoughts occur.” Strunk goes on to say that “design” can refer to something as loosely structured as a personal letter or rigidly organized as a sonnet. The point is to know what we are trying to communicate and choose the appropriate organizing principle so we can write it effectively.

Of course, this is easier said than done, especially when it comes to fiction.