Other means of linking

Conjunctions and conjunctive phrases as well as adverbs and adverbial modes serve to link the paragraphs, or —as Martín Vivaldi expresses— "are transition elements between the phrases". When they are missing, the style is often inconsistent or incomplete. Let's see an example:
The men made an effort to sell; They failed to beat the competition.
The link element (but or however) is missing here to clarify the most important meaning, which is the adversative or opposition. A) Yes:
The men struggled to sell, but failed to outperform the competition.
The inverse case also occurs, very common in general writing: the means of linking to the point of sometimes turning them into veritable "fillers", with the logical danger of monotony or mechanization. Even, it is frequent that expressions are used as a consequence, therefore, for that reason and the like, in a way that is completely meaningless, because it does not pay attention to its meaning. Example:
They studied the matter carefully and decided how to do it; consequently, they were busy for many hours ...

(Here, having been busy for many hours is not a consequence of having studied and decided on the matter, but quite the opposite). The logical form would read:
They studied the matter carefully and decided how to do it; for this, they were busy for many hours ...
Other very common forms are: on the other hand, therefore, also, in effect, now well, that is, then, since, so that, so that, nevertheless, later, in addition, also, nevertheless, therefore, in this way, as a consequence of it, for this cause, etc. In all cases, the meaning must be strictly adhered to, so that they are justified and correct.
Sometimes the colon is a perfect substitute for the linking means:
The business does not prosper: it should be sold (deleted: therefore, so, so, or any consecutive phrase).
This is very difficult: we will request a technician (deleted: so that, for that or similar).
Modern stylistic taste — with demands for agility, fluency, conciseness — discards complicated, twisted paragraphs, loaded with links that tie ideas after ideas in long speeches.

In his time, the pleasant French writer Anatole France said to a friend:
The most beautiful phrase is the shortest. The broad and melodious phrases begin by rocking us and end by putting us to sleep. And when it comes to transitions, you have to scoff at them. The best way to move from paragraph to paragraph, without the reader noticing, is to take a slight jump.