This fragmentation of information isn\u2019t confined to the internet. In 1992, a professor at the University of California published research showing that the length of the average political soundbite on American TV had dropped from 43 seconds in the 1968 presidential election to nine seconds in 1988<\/a>. (It now stands at just under eight seconds.)<\/p>\n The most obvious casualty of this economy drive is the venerable paragraph. Below are excerpts from recent news stories on the Guardian website (before I got my hands on them):<\/p>\n The CPS admitted it made mistakes and that Janner should have been prosecuted earlier.<\/p>\n \u2018In relation to the other three previous investigations, the CPS also now considers that the evidential test was passed.<\/p>\n \u2018It follows that mistakes were made in the decision making at the time by both the Leicestershire police in 2002 and the CPS in 1991 and 2007.<\/p>\n \u2018Lord Janner should have been prosecuted.\u2019 \u201d<\/p>\n<\/div>\n<\/blockquote>\n Parts of Britain are set to enjoy sunny spells this week with temperatures expected to rise to 23C (73F).<\/p>\n The south-east of England could bask in the warm temperatures, which are well above the average for May, on Monday, forecasters have predicted.<\/p>\n However, the good weather is not set to last, with unstable conditions arriving across much of the country from Wednesday.\u201d<\/p>\n<\/div>\n<\/blockquote>\n Of course, different rules apply in different media. Paragraphs in newspapers have always been shorter than in novels and essays, chiefly because their pages are split into columns. With narrower margins, more frequent indentations are required to break up the daunting blocks of text. Furthermore, news stories \u2013 in some papers, at least \u2013 are supposed to be light on opinion, speculation and excessive description, restricting themselves to the facts and perhaps a little context and reaction, so there\u2019s less scope for discursion.<\/p>\n The internet, meanwhile, has exerted further downward pressure on paragraph length. Reading on a laptop screen or phone is slower and more fatiguing, and it\u2019s harder to keep your place; inserting regular, clear breaks (complete lines rather than indentations) is one way to create a smoother reading experience.<\/p>\n None of this is in dispute. But consider this recent piece on the BBC website<\/a>. With two exceptions, all the paragraphs in this story consist of precisely one sentence. When I came across that story, the layout seemed dimly familiar. Then it hit me:<\/p>\n Now, great swaths of text put me off as much as the next person. But if things continue in this vein, before long the paragraph will go the same way as the harpsichord, the fob watch and the returned phone call.<\/p>\n An entirely legitimate response to this development, of course, is an imperceptible shrug. So what if it dies? What has it ever done for me? But before we write the paragraph\u2019s epitaph, I propose we briefly examine its career and achievements, and establish whether it is, in fact, worth keeping the life support switched on.<\/p>\n The history of the paragraph is long, messy and, for the greater part, teeth-grindingly dull. So here are some edited highlights.<\/p>\n Fascinating as all this is, there\u2019s not a huge amount to support the paragraph\u2019s mercy plea. What, then, do the grammar gurus say on the subject?<\/p>\n Plenty, as it turns out \u2013 but it\u2019s hard to find even two who are in complete agreement: \u201ca distinct passage or section of a text, usually composed of several sentences, dealing with a particular point, a short episode in a narrative, a single piece of direct speech, etc\u201d (OED); \u201ca connected series of sentences constituting the development of a single topic\u201d (GF Genung); \u201ca unit of written discourse between the sentence and the whole text \u2026 to show the reader that the sentences in a particular set are more closely related to each other than to the sentences in adjacent text\u201d (David Crystal). Chomsky is one of many linguists who don\u2019t even recognise the paragraph as a legitimate syntactical unit.<\/p>\n Not surprisingly, then, the answers to the question \u201cHow long should a paragraph be?\u201d are as varied as those to \u201cHow long is a piece of string?\u201d: \u201cThe term paragraph can hardly be applied to anything short of three sentences\u201d (John Earle); no more than five or six sentences (Grammarly); \u201cThe ideal paragraph contains five sentences\u201d (Arthur F McEvoy); less than five sentences (copyblogger.com); \u201cNo arbitrary rules can be given as to the proper length of paragraphs … it is not well to extend a single paragraph beyond three hundred words\u201d (Scott and Denney). The dependably thorough Grammar Girl<\/a> cites various authorities as recommending 100-200 words \u2013 although the average number of words per paragraph in the selfsame blogpost is 58.<\/p>\n What, then, is to stop us abandoning the paragraph altogether and simply breaking after every sentence? Well, several things.<\/p>\n Paragraphs allow us to group gobbets of information together in (more or less) coherent units. A long paragraph can be a reasoned, nuanced discourse. Lots of short paragraphs create the impression of a series of unconnected slogans, with no obvious progression.<\/p>\n Paragraphs also allow for variation of rhythm; as Grammar Girl says, \u201cIt\u2019s important to mix up your paragraph length for the same reason you mix up your sentence structure: to keep your reader\u2019s eyes from glazing over.\u201d It\u2019s all very well not deterring the reader with huge blocks of text, but after winning their attention, you ideally want to keep it.<\/p>\n But to my mind, one reason, and one reason alone, is sufficient to justify the Save the Paragraph Campaign. Time was, when you came across a paragraph of one sentence, you knew it contained powerful stuff (in the writer\u2019s view, at least). A short paragraph, coming after many long ones, could deliver a real punch. Imagine how much less impressive the closing line of The Great Gatsby would be if every preceding paragraph had also been one sentence long:<\/p>\n So we beat on, boats against the current, borne back ceaselessly into the past.\u201d<\/p>\n<\/div>\n<\/blockquote>\n Perhaps the string analogy is a useful one. After all, the whole point of a piece of string is that it can be as long as you want it to be<\/em>: if string came ready cut in 2cm segments, it wouldn\u2019t be any use at all.<\/p>\n\n
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![\"Dick](\"http:\/\/i.guim.co.uk\/static\/w-300\/h--\/q-95\/sys-images\/Guardian\/Pix\/pictures\/2015\/5\/17\/1431882968982\/48d64a6d-1a80-4807-9788-9f9a21cffb83-300x213.jpeg\")
The pilcrow\u2019s progress<\/h2>\n
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![\"Pilcrow](\"http:\/\/i.guim.co.uk\/static\/w-300\/h--\/q-95\/sys-images\/Guardian\/Pix\/pictures\/2015\/5\/17\/1431882788344\/071837dd-3f76-440b-a2d6-d1accc304abc-332x480.jpeg\")
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