例如：Although Young Woman with a Water Pitcher depicts an unknown, middle-class woman at an ordinary task, the image is more than “realistic”; the painter [Vermeer] has imposed his own order upon it to strengthen it. 由“although”所引出的从句呼应前文，而主句则是引出下文。
中心句不是说大口号，比如“Today I’m going to discuss the benefits of gardening.”
举个例子。“In the story, Amelia did many good things such as help out her friends, talk to her parents, and support her team at school.”描述一目了然，但过于详细的解说使读者读起来乏味。
反之“As a result of the many activities Amelia participated in, she was recognised for her positive influence on the community.”不仅预示读者所要看到的内容，又留给读者一个小小的期待，想看Amelia到底做了什么，给大家带来了怎样的正面影响。
中心句的范围，切忌过宽亦过窄。过窄导致没有扩展继续写作的空间，比如“Increased funding for public roads in Jackson County has decreased traffic by 20%.”这是一条强有力的数据，但不适用于中心句。
中心句的写法应该是“In addition, increasing funding for public roads in Jackson County will improve local residents’ quality of life.”
再比如：“The United States suffered a lot during the Civil War.” 范围过广，可以修改为“Sherman’s destruction in the South during the Civil War also caused incredible suffering.”
中心句和introduction有很多相似之处，比如吸引读者注意力。有时可以尝试使用问题，引发读者深思，比如“Does the promise of stability justify this unchanging hierarchy?”
另外中心句的内容避免单纯地列举客观事实，可以将事实与自己的观点相关联。比如与其说“All dogs need food”不如说“All dogs need regular care, including healthy food, and children are the best ones to do it.” 不仅增加趣味性，也增加了自己的观点。
有的人习惯将过渡句和中心句分开，有的人喜欢将两者结合，因人而异。比如“Although gardening has many health benefits, people still need to exercise caution when outside.” 不仅总结了园艺带来的身体健康好处，也引出了新一段的内容，即锻炼时的注意事项。
The tragic hero is typically on top of the wheel of fortune, half-way between human society on the ground and the something greater in the sky. Prometheus, Adam, and Christ hang between heaven and earth, between a world of paradisal freedom and a world of bondage. Tragic heroes are so much the highest points in their human landscape that they seem the inevitable conductors of the power about them, great trees more likely to be struck by lightning than a clump of grass. Conductors may of course be instruments as well as victims of the divine lightning: Milton’s Samson destroys the Philistine temple with himself, and Hamlet nearly exterminates the Danish court in his own fall.
We found in comedy that the term bomolochos or buffoon need not be restricted to farce, but could be extended to cover comic characters who are primarily entertainers, with the function of increasing or focusing the comic mood. The corresponding contrasting type is the suppliant, the character, often female, who presents a picture of unmitigated helplessness and destitution. Such a figure is pathetic, and pathos, though it seems a gentler and more relaxed mood than tragedy, is even more terrifying. Its basis is the exclusion of an individual from the group; hence it attacks the deepest fear in ourselves that we possess—a fear much deeper than the relatively cosy and sociable bogey of hell. In the suppliant pity and terror are brought to the highest possible pitch of intensity, and the awful consequences of rejecting the suppliant for all concerned is a central theme of Greek tragedy.