essay about great experience

T he lords of life, the lords of life,— I saw them pass, In their own guise, Like and unlike, Portly and grim, Use and Surprise, Surface and Dream, Succession swift, and spectral Wrong, Temperament without a tongue, And the inventor of the game Omnipresent without name; — Some to see, some to be guessed, They marched from east to west: Little man, least of all, Among the legs of his guardians tall, Walked about with puzzled look: — Him by the hand dear nature took; Dearest nature, strong and kind, Whispered, 'Darling, never mind! Tomorrow they will wear another face, The founder thou! these are thy race!'

W here do we find ourselves? In a series of which we do not know the extremes, and believe that it has none. We wake and find ourselves on a stair; there are stairs below us, which we seem to have ascended; there are stairs above us, many a one, which go upward and out of sight. But the Genius which, according to the old belief, stands at the door by which we enter, and gives us the lethe to drink, that we may tell no tales, mixed the cup too strongly, and we cannot shake off the lethargy now at noonday. Sleep lingers all our lifetime about our eyes, as night hovers all day in the boughs of the fir-tree. All things swim and glitter. Our life is not so much threatened as our perception. Ghostlike we glide through nature, and should not know our place again. Did our birth fall in some fit of indigence and frugality in nature, that she was so sparing of her fire and so liberal of her earth, that it appears to us that we lack the affirmative principle, and though we have health and reason, yet we have no superfluity of spirit for new creation? We have enough to live and bring the year about, but not an ounce to impart or to invest. Ah that our Genius were a little more of a genius! We are like millers on the lower levels of a stream, when the factories above them have exhausted the water. We too fancy that the upper people must have raised their dams.

If any of us knew what we were doing, or where we are going, then when we think we best know! We do not know today whether we are busy or idle. In times when we thought ourselves indolent, we have afterwards discovered, that much was accomplished, and much was begun in us. All our days are so unprofitable while they pass, that 'tis wonderful where or when we ever got anything of this which we call wisdom, poetry, virtue. We never got it on any dated calendar day. Some heavenly days must have been intercalated somewhere, like those that Hermes won with dice of the Moon, that Osiris might be born. It is said, all martyrdoms looked mean when they were suffered. Every ship is a romantic object, except that we sail in. Embark, and the romance quits our vessel, and hangs on every other sail in the horizon. Our life looks trivial, and we shun to record it. Men seem to have learned of the horizon the art of perpetual retreating and reference. 'Yonder uplands are rich pasturage, and my neighbor has fertile meadow, but my field,' says the querulous farmer, 'only holds the world together.' I quote another man's saying; unluckily, that other withdraws himself in the same way, and quotes me. 'Tis the trick of nature thus to degrade today; a good deal of buzz, and somewhere a result slipped magically in. Every roof is agreeable to the eye, until it is lifted; then we find tragedy and moaning women, and hard-eyed husbands, and deluges of lethe, and the men ask, 'What's the news?' as if the old were so bad. How many individuals can we count in society? how many actions? how many opinions? So much of our time is preparation, so much is routine, and so much retrospect, that the pith of each man's genius contracts itself to a very few hours. The history of literature — take the net result of Tiraboschi, Warton, or Schlegel, — is a sum of very few ideas, and of very few original tales, — all the rest being variation of these. So in this great society wide lying around us, a critical analysis would find very few spontaneous actions. It is almost all custom and gross sense. There are even few opinions, and these seem organic in the speakers, and do not disturb the universal necessity.

What opium is instilled into all disaster! It shows formidable as we approach it, but there is at last no rough rasping friction, but the most slippery sliding surfaces. We fall soft on a thought. Ate Dea is gentle,

"Over men's heads walking aloft, With tender feet treading so soft."

People grieve and bemoan themselves, but it is not half so bad with them as they say. There are moods in which we court suffering, in the hope that here, at least, we shall find reality, sharp peaks and edges of truth. But it turns out to be scene-painting and counterfeit. The only thing grief has taught me, is to know how shallow it is. That, like all the rest, plays about the surface, and never introduces me into the reality, for contact with which, we would even pay the costly price of sons and lovers. Was it Boscovich who found out that bodies never come in contact? Well, souls never touch their objects. An innavigable sea washes with silent waves between us and the things we aim at and converse with. Grief too will make us idealists. In the death of my son, now more than two years ago, I seem to have lost a beautiful estate, — no more. I cannot get it nearer to me. If tomorrow I should be informed of the bankruptcy of my principal debtors, the loss of my property would be a great inconvenience to me, perhaps, for many years; but it would leave me as it found me, — neither better nor worse. So is it with this calamity: it does not touch me: some thing which I fancied was a part of me, which could not be torn away without tearing me, nor enlarged without enriching me, falls off from me, and leaves no scar. It was caducous. I grieve that grief can teach me nothing, nor carry me one step into real nature. The Indian who was laid under a curse, that the wind should not blow on him, nor water flow to him, nor fire burn him, is a type of us all. The dearest events are summer-rain, and we the Para coats that shed every drop. Nothing is left us now but death. We look to that with a grim satisfaction, saying, there at least is reality that will not dodge us.

I take this evanescence and lubricity of all objects, which lets them slip through our fingers then when we clutch hardest, to be the most unhandsome part of our condition. Nature does not like to be observed, and likes that we should be her fools and playmates. We may have the sphere for our cricket-ball, but not a berry for our philosophy. Direct strokes she never gave us power to make; all our blows glance, all our hits are accidents. Our relations to each other are oblique and casual.

Dream delivers us to dream, and there is no end to illusion. Life is a train of moods like a string of beads, and, as we pass through them, they prove to be many-colored lenses which paint the world their own hue, and each shows only what lies in its focus. From the mountain you see the mountain. We animate what we can, and we see only what we animate. Nature and books belong to the eyes that see them. It depends on the mood of the man, whether he shall see the sunset or the fine poem. There are always sunsets, and there is always genius; but only a few hours so serene that we can relish nature or criticism. The more or less depends on structure or temperament. Temperament is the iron wire on which the beads are strung. Of what use is fortune or talent to a cold and defective nature? Who cares what sensibility or discrimination a man has at some time shown, if he falls asleep in his chair? or if he laugh and giggle? or if he apologize? or is affected with egotism? or thinks of his dollar? or cannot go by food? or has gotten a child in his boyhood? Of what use is genius, if the organ is too convex or too concave, and cannot find a focal distance within the actual horizon of human life? Of what use, if the brain is too cold or too hot, and the man does not care enough for results, to stimulate him to experiment, and hold him up in it? or if the web is too finely woven, too irritable by pleasure and pain, so that life stagnates from too much reception, without due outlet? Of what use to make heroic vows of amendment, if the same old law-breaker is to keep them? What cheer can the religious sentiment yield, when that is suspected to be secretly dependent on the seasons of the year, and the state of the blood? I knew a witty physician who found theology in the biliary duct, and used to affirm that if there was disease in the liver, the man became a Calvinist, and if that organ was sound, he became a Unitarian. Very mortifying is the reluctant experience that some unfriendly excess or imbecility neutralizes the promise of genius. We see young men who owe us a new world, so readily and lavishly they promise, but they never acquit the debt; they die young and dodge the account: or if they live, they lose themselves in the crowd.

Temperament also enters fully into the system of illusions, and shuts us in a prison of glass which we cannot see. There is an optical illusion about every person we meet. In truth, they are all creatures of given temperament, which will appear in a given character, whose boundaries they will never pass: but we look at them, they seem alive, and we presume there is impulse in them. In the moment it seems impulse; in the year, in the lifetime, it turns out to be a certain uniform tune which the revolving barrel of the music-box must play. Men resist the conclusion in the morning, but adopt it as the evening wears on, that temper prevails over everything of time, place, and condition, and is inconsumable in the flames of religion. Some modifications the moral sentiment avails to impose, but the individual texture holds its dominion, if not to bias the moral judgments, yet to fix the measure of activity and of enjoyment.

I thus express the law as it is read from the platform of ordinary life, but must not leave it without noticing the capital exception. For temperament is a power which no man willingly hears any one praise but himself. On the platform of physics, we cannot resist the contracting influences of so-called science. Temperament puts all divinity to rout. I know the mental proclivity of physicians. I hear the chuckle of the phrenologists. Theoretic kidnappers and slave-drivers, they esteem each man the victim of another, who winds him round his finger by knowing the law of his being, and by such cheap signboards as the color of his beard, or the slope of his occiput, reads the inventory of his fortunes and character. The grossest ignorance does not disgust like this impudent knowingness. The physicians say, they are not materialists; but they are: — Spirit is matter reduced to an extreme thinness: O so thin! — But the definition of spiritual should be, that which is its own evidence. What notions do they attach to love! what to religion! One would not willingly pronounce these words in their hearing, and give them the occasion to profane them. I saw a gracious gentleman who adapts his conversation to the form of the head of the man he talks with! I had fancied that the value of life lay in its inscrutable possibilities; in the fact that I never know, in addressing myself to a new individual, what may befall me. I carry the keys of my castle in my hand, ready to throw them at the feet of my lord, whenever and in what disguise soever he shall appear. I know he is in the neighborhood hidden among vagabonds. Shall I preclude my future, by taking a high seat, and kindly adapting my conversation to the shape of heads? When I come to that, the doctors shall buy me for a cent.—— 'But, sir, medical history; the report to the Institute; the proven facts!' -- I distrust the facts and the inferences. Temperament is the veto or limitation-power in the constitution, very justly applied to restrain an opposite excess in the constitution, but absurdly offered as a bar to original equity. When virtue is in presence, all subordinate powers sleep. On its own level, or in view of nature, temperament is final. I see not, if one be once caught in this trap of so-called sciences, any escape for the man from the links of the chain of physical necessity. Given such an embryo, such a history must follow. On this platform, one lives in a sty of sensualism, and would soon come to suicide. But it is impossible that the creative power should exclude itself. Into every intelligence there is a door which is never closed, through which the creator passes. The intellect, seeker of absolute truth, or the heart, lover of absolute good, intervenes for our succor, and at one whisper of these high powers, we awake from ineffectual struggles with this nightmare. We hurl it into its own hell, and cannot again contract ourselves to so base a state.

That immobility and absence of elasticity which we find in the arts, we find with more pain in the artist. There is no power of expansion in men. Our friends early appear to us as representatives of certain ideas, which they never pass or exceed. They stand on the brink of the ocean of thought and power, but they never take the single step that would bring them there. A man is like a bit of Labrador spar, which has no lustre as you turn it in your hand, until you come to a particular angle; then it shows deep and beautiful colors. There is no adaptation or universal applicability in men, but each has his special talent, and the mastery of successful men consists in adroitly keeping themselves where and when that turn shall be oftenest to be practised. We do what we must, and call it by the best names we can, and would fain have the praise of having intended the result which ensues. I cannot recall any form of man who is not superfluous sometimes. But is not this pitiful? Life is not worth the taking, to do tricks in.

Of course, it needs the whole society, to give the symmetry we seek. The parti-colored wheel must revolve very fast to appear white. Something is learned too by conversing with so much folly and defect. In fine, whoever loses, we are always of the gaining party. Divinity is behind our failures and follies also. The plays of children are nonsense, but very educative nonsense. So it is with the largest and solemnest things, with commerce, government, church, marriage, and so with the history of every man's bread, and the ways by which he is to come by it. Like a bird which alights nowhere, but hops perpetually from bough to bough, is the Power which abides in no man and in no woman, but for a moment speaks from this one, and for another moment from that one.

But what help from these fineries or pedantries? What help from thought? Life is not dialectics. We, I think, in these times, have had lessons enough of the futility of criticism. Our young people have thought and written much on labor and reform, and for all that they have written, neither the world nor themselves have got on a step. Intellectual tasting of life will not supersede muscular activity. If a man should consider the nicety of the passage of a piece of bread down his throat, he would starve. At Education-Farm, the noblest theory of life sat on the noblest figures of young men and maidens, quite powerless and melancholy. It would not rake or pitch a ton of hay; it would not rub down a horse; and the men and maidens it left pale and hungry. A political orator wittily compared our party promises to western roads, which opened stately enough, with planted trees on either side, to tempt the traveller, but soon became narrow and narrower, and ended in a squirrel-track, and ran up a tree. So does culture with us; it ends in head-ache. Unspeakably sad and barren does life look to those, who a few months ago were dazzled with the splendor of the promise of the times. "There is now no longer any right course of action, nor any self-devotion left among the Iranis." Objections and criticism we have had our fill of. There are objections to every course of life and action, and the practical wisdom infers an indifferency, from the omnipresence of objection. The whole frame of things preaches indifferency. Do not craze yourself with thinking, but go about your business anywhere. Life is not intellectual or critical, but sturdy. Its chief good is for well-mixed people who can enjoy what they find, without question. Nature hates peeping, and our mothers speak her very sense when they say, "Children, eat your victuals, and say no more of it." To fill the hour, — that is happiness; to fill the hour, and leave no crevice for a repentance or an approval. We live amid surfaces, and the true art of life is to skate well on them. Under the oldest mouldiest conventions, a man of native force prospers just as well as in the newest world, and that by skill of handling and treatment. He can take hold anywhere. Life itself is a mixture of power and form, and will not bear the least excess of either. To finish the moment, to find the journey's end in every step of the road, to live the greatest number of good hours, is wisdom. It is not the part of men, but of fanatics, or of mathematicians, if you will, to say, that, the shortness of life considered, it is not worth caring whether for so short a duration we were sprawling in want, or sitting high. Since our office is with moments, let us husband them. Five minutes of today are worth as much to me, as five minutes in the next millennium. Let us be poised, and wise, and our own, today. Let us treat the men and women well: treat them as if they were real: perhaps they are. Men live in their fancy, like drunkards whose hands are too soft and tremulous for successful labor. It is a tempest of fancies, and the only ballast I know, is a respect to the present hour. Without any shadow of doubt, amidst this vertigo of shows and politics, I settle myself ever the firmer in the creed, that we should not postpone and refer and wish, but do broad justice where we are, by whomsoever we deal with, accepting our actual companions and circumstances, however humble or odious, as the mystic officials to whom the universe has delegated its whole pleasure for us. If these are mean and malignant, their contentment, which is the last victory of justice, is a more satisfying echo to the heart, than the voice of poets and the casual sympathy of admirable persons. I think that however a thoughtful man may suffer from the defects and absurdities of his company, he cannot without affectation deny to any set of men and women, a sensibility to extraordinary merit. The coarse and frivolous have an instinct of superiority, if they have not a sympathy, and honor it in their blind capricious way with sincere homage.

The fine young people despise life, but in me, and in such as with me are free from dyspepsia, and to whom a day is a sound and solid good, it is a great excess of politeness to look scornful and to cry for company. I am grown by sympathy a little eager and sentimental, but leave me alone, and I should relish every hour and what it brought me, the pot-luck of the day, as heartily as the oldest gossip in the bar-room. I am thankful for small mercies. I compared notes with one of my friends who expects everything of the universe, and is disappointed when anything is less than the best, and I found that I begin at the other extreme, expecting nothing, and am always full of thanks for moderate goods. I accept the clangor and jangle of contrary tendencies. I find my account in sots and bores also. They give a reality to the circumjacent picture, which such a vanishing meteorous appearance can ill spare. In the morning I awake, and find the old world, wife, babes, and mother, Concord and Boston, the dear old spiritual world, and even the dear old devil not far off. If we will take the good we find, asking no questions, we shall have heaping measures. The great gifts are not got by analysis. Everything good is on the highway. The middle region of our being is the temperate zone. We may climb into the thin and cold realm of pure geometry and lifeless science, or sink into that of sensation. Between these extremes is the equator of life, of thought, of spirit, of poetry, — a narrow belt. Moreover, in popular experience, everything good is on the highway. A collector peeps into all the picture-shops of Europe, for a landscape of Poussin, a crayon-sketch of Salvator; but the Transfiguration, the Last Judgment, the Communion of St. Jerome, and what are as transcendent as these, are on the walls of the Vatican, the Uffizii, or the Louvre, where every footman may see them; to say nothing of nature's pictures in every street, of sunsets and sunrises every day, and the sculpture of the human body never absent. A collector recently bought at public auction, in London, for one hundred and fifty-seven guineas, an autograph of Shakespeare : but for nothing a school-boy can read Hamlet, and can detect secrets of highest concernment yet unpublished therein. I think I will never read any but the commonest books, — the Bible, Homer, Dante, Shakespeare , and Milton. Then we are impatient of so public a life and planet, and run hither and thither for nooks and secrets. The imagination delights in the wood-craft of Indians, trappers, and bee-hunters. We fancy that we are strangers, and not so intimately domesticated in the planet as the wild man, and the wild beast and bird. But the exclusion reaches them also; reaches the climbing, flying, gliding, feathered and four-footed man. Fox and woodchuck, hawk and snipe, and bittern, when nearly seen, have no more root in the deep world than man, and are just such superficial tenants of the globe. Then the new molecular philosophy shows astronomical interspaces betwixt atom and atom, shows that the world is all outside: it has no inside.

The mid-world is best. Nature, as we know her, is no saint. The lights of the church, the ascetics, Gentoos and Grahamites, she does not distinguish by any favor. She comes eating and drinking and sinning. Her darlings, the great, the strong, the beautiful, are not children of our law, do not come out of the Sunday School, nor weigh their food, nor punctually keep the commandments. If we will be strong with her strength, we must not harbor such disconsolate consciences, borrowed too from the consciences of other nations. We must set up the strong present tense against all the rumors of wrath, past or to come. So many things are unsettled which it is of the first importance to settle, — and, pending their settlement, we will do as we do. Whilst the debate goes forward on the equity of commerce, and will not be closed for a century or two, New and Old England may keep shop. Law of copyright and international copyright is to be discussed, and, in the interim, we will sell our books for the most we can. Expediency of literature, reason of literature, lawfulness of writing down a thought, is questioned; much is to say on both sides, and, while the fight waxes hot, thou, dearest scholar, stick to thy foolish task, add a line every hour, and between whiles add a line. Right to hold land, right of property, is disputed, and the conventions convene, and before the vote is taken, dig away in your garden, and spend your earnings as a waif or godsend to all serene and beautiful purposes. Life itself is a bubble and a skepticism, and a sleep within a sleep. Grant it, and as much more as they will, — but thou, God's darling! heed thy private dream: thou wilt not be missed in the scorning and skepticism: there are enough of them: stay there in thy closet, and toil, until the rest are agreed what to do about it. Thy sickness, they say, and thy puny habit, require that thou do this or avoid that, but know that thy life is a flitting state, a tent for a night, and do thou, sick or well, finish that stint. Thou art sick, but shalt not be worse, and the universe, which holds thee dear, shall be the better.

Human life is made up of the two elements, power and form, and the proportion must be invariably kept, if we would have it sweet and sound. Each of these elements in excess makes a mischief as hurtful as its defect. Everything runs to excess: every good quality is noxious, if unmixed, and, to carry the danger to the edge of ruin, nature causes each man's peculiarity to superabound. Here, among the farms, we adduce the scholars as examples of this treachery. They are nature's victims of expression. You who see the artist, the orator, the poet, too near, and find their life no more excellent than that of mechanics or farmers, and themselves victims of partiality, very hollow and haggard, and pronounce them failures, — not heroes, but quacks, — conclude very reasonably, that these arts are not for man, but are disease. Yet nature will not bear you out. Irresistible nature made men such, and makes legions more of such, every day. You love the boy reading in a book, gazing at a drawing, or a cast: yet what are these millions who read and behold, but incipient writers and sculptors? Add a little more of that quality which now reads and sees, and they will seize the pen and chisel. And if one remembers how innocently he began to be an artist, he perceives that nature joined with his enemy. A man is a golden impossibility. The line he must walk is a hair's breadth. The wise through excess of wisdom is made a fool.

How easily, if fate would suffer it, we might keep forever these beautiful limits, and adjust ourselves, once for all, to the perfect calculation of the kingdom of known cause and effect. In the street and in the newspapers, life appears so plain a business, that manly resolution and adherence to the multiplication-table through all weathers, will insure success. But ah! presently comes a day, or is it only a half-hour, with its angel-whispering, — which discomfits the conclusions of nations and of years! Tomorrow again, everything looks real and angular, the habitual standards are reinstated, common sense is as rare as genius, — is the basis of genius, and experience is hands and feet to every enterprise; — and yet, he who should do his business on this understanding, would be quickly bankrupt. Power keeps quite another road than the turnpikes of choice and will, namely, the subterranean and invisible tunnels and channels of life. It is ridiculous that we are diplomatists, and doctors, and considerate people: there are no dupes like these. Life is a series of surprises, and would not be worth taking or keeping, if it were not. God delights to isolate us every day, and hide from us the past and the future. We would look about us, but with grand politeness he draws down before us an impenetrable screen of purest sky, and another behind us of purest sky. 'You will not remember,' he seems to say, 'and you will not expect.' All good conversation, manners , and action, come from a spontaneity which forgets usages, and makes the moment great. Nature hates calculators; her methods are saltatory and impulsive. Man lives by pulses; our organic movements are such; and the chemical and ethereal agents are undulatory and alternate; and the mind goes antagonizing on, and never prospers but by fits. We thrive by casualties. Our chief experiences have been casual. The most attractive class of people are those who are powerful obliquely, and not by the direct stroke: men of genius, but not yet accredited: one gets the cheer of their light, without paying too great a tax. Theirs is the beauty of the bird, or the morning light, and not of art. In the thought of genius there is always a surprise; and the moral sentiment is well called "the newness," for it is never other; as new to the oldest intelligence as to the young child, — "the kingdom that cometh without observation." In like manner, for practical success, there must not be too much design. A man will not be observed in doing that which he can do best. There is a certain magic about his properest action, which stupefies your powers of observation, so that though it is done before you, you wist not of it. The art of life has a pudency, and will not be exposed. Every man is an impossibility, until he is born; every thing impossible, until we see a success. The ardors of piety agree at last with the coldest skepticism, — that nothing is of us or our works, — that all is of God. Nature will not spare us the smallest leaf of laurel. All writing comes by the grace of God, and all doing and having. I would gladly be moral, and keep due metes and bounds, which I dearly love, and allow the most to the will of man, but I have set my heart on honesty in this chapter, and I can see nothing at last, in success or failure, than more or less of vital force supplied from the Eternal. The results of life are uncalculated and uncalculable. The years teach much which the days never know. The persons who compose our company, converse, and come and go, and design and execute many things, and somewhat comes of it all, but an unlooked for result. The individual is always mistaken. He designed many things, and drew in other persons as coadjutors, quarrelled with some or all, blundered much, and something is done; all are a little advanced, but the individual is always mistaken. It turns out somewhat new, and very unlike what he promised himself.

The ancients, struck with this irreducibleness of the elements of human life to calculation, exalted Chance into a divinity, but that is to stay too long at the spark, — which glitters truly at one point, — but the universe is warm with the latency of the same fire. The miracle of life which will not be expounded, but will remain a miracle, introduces a new element. In the growth of the embryo, Sir Everard Home, I think, noticed that the evolution was not from one central point, but co-active from three or more points. Life has no memory. That which proceeds in succession might be remembered, but that which is coexistent, or ejaculated from a deeper cause, as yet far from being conscious, knows not its own tendency. So is it with us, now skeptical, or without unity, because immersed in forms and effects all seeming to be of equal yet hostile value, and now religious, whilst in the reception of spiritual law . Bear with these distractions, with this coetaneous growth of the parts: they will one day be members , and obey one will. On that one will, on that secret cause, they nail our attention and hope. Life is hereby melted into an expectation or a religion. Underneath the inharmonious and trivial particulars, is a musical perfection, the Ideal journeying always with us, the heaven without rent or seam. Do but observe the mode of our illumination. When I converse with a profound mind, or if at any time being alone I have good thoughts, I do not at once arrive at satisfactions, as when, being thirsty, I drink water, or go to the fire, being cold: no! but I am at first apprised of my vicinity to a new and excellent region of life. By persisting to read or to think, this region gives further sign of itself, as it were in flashes of light, in sudden discoveries of its profound beauty and repose, as if the clouds that covered it parted at intervals, and showed the approaching traveller the inland mountains, with the tranquil eternal meadows spread at their base, whereon flocks graze, and shepherds pipe and dance. But every insight from this realm of thought is felt as initial, and promises a sequel. I do not make it; I arrive there, and behold what was there already. I make! O no! I clap my hands in infantine joy and amazement, before the first opening to me of this august magnificence, old with the love and homage of innumerable ages, young with the life of life, the sunbright Mecca of the desert. And what a future it opens! I feel a new heart beating with the love of the new beauty. I am ready to die out of nature, and be born again into this new yet unapproachable America I have found in the West.

"Since neither now nor yesterday began These thoughts, which have been ever, nor yet can A man be found who their first entrance knew."

If I have described life as a flux of moods, I must now add, that there is that in us which changes not, and which ranks all sensations and states of mind. The consciousness in each man is a sliding scale, which identifies him now with the First Cause, and now with the flesh of his body; life above life, in infinite degrees. The sentiment from which it sprung determines the dignity of any deed, and the question ever is, not, what you have done or forborne, but, at whose command you have done or forborne it.

Fortune, Minerva, Muse, Holy Ghost, — these are quaint names, too narrow to cover this unbounded substance. The baffled intellect must still kneel before this cause, which refuses to be named, — ineffable cause, which every fine genius has essayed to represent by some emphatic symbol, as, Thales by water, Anaximenes by air, Anaxagoras by (Nous) thought, Zoroaster by fire, Jesus and the moderns by love: and the metaphor of each has become a national religion. The Chinese Mencius has not been the least successful in his generalization. "I fully understand language," he said, "and nourish well my vast-flowing vigor." — "I beg to ask what you call vast-flowing vigor?" — said his companion. "The explanation," replied Mencius, "is difficult. This vigor is supremely great, and in the highest degree unbending. Nourish it correctly, and do it no injury, and it will fill up the vacancy between heaven and earth. This vigor accords with and assists justice and reason, and leaves no hunger." — In our more correct writing, we give to this generalization the name of Being, and thereby confess that we have arrived as far as we can go. Suffice it for the joy of the universe, that we have not arrived at a wall, but at interminable oceans. Our life seems not present, so much as prospective; not for the affairs on which it is wasted, but as a hint of this vast-flowing vigor. Most of life seems to be mere advertisement of faculty: information is given us not to sell ourselves cheap; that we are very great. So, in particulars, our greatness is always in a tendency or direction, not in an action. It is for us to believe in the rule, not in the exception. The noble are thus known from the ignoble. So in accepting the leading of the sentiments, it is not what we believe concerning the immortality of the soul, or the like, but the universal impulse to believe , that is the material circumstance, and is the principal fact in the history of the globe. Shall we describe this cause as that which works directly? The spirit is not helpless or needful of mediate organs. It has plentiful powers and direct effects. I am explained without explaining, I am felt without acting, and where I am not. Therefore all just persons are satisfied with their own praise. They refuse to explain themselves, and are content that new actions should do them that office. They believe that we communicate without speech, and above speech, and that no right action of ours is quite unaffecting to our friends, at whatever distance; for the influence of action is not to be measured by miles. Why should I fret myself, because a circumstance has occurred, which hinders my presence where I was expected? If I am not at the meeting, my presence where I am, should be as useful to the commonwealth of friendship and wisdom, as would be my presence in that place. I exert the same quality of power in all places. Thus journeys the mighty Ideal before us; it never was known to fall into the rear. No man ever came to an experience which was satiating, but his good is tidings of a better. Onward and onward! In liberated moments, we know that a new picture of life and duty is already possible; the elements already exist in many minds around you, of a doctrine of life which shall transcend any written record we have. The new statement will comprise the skepticisms, as well as the faiths of society, and out of unbeliefs a creed shall be formed. For, skepticisms are not gratuitous or lawless, but are limitations of the affirmative statement, and the new philosophy must take them in, and make affirmations out-side of them, just as much as it must include the oldest beliefs.

It is very unhappy, but too late to be helped, the discovery we have made, that we exist. That discovery is called the Fall of Man. Ever afterwards, we suspect our instruments. We have learned that we do not see directly, but mediately, and that we have no means of correcting these colored and distorting lenses which we are, or of computing the amount of their errors. Perhaps these subject-lenses have a creative power; perhaps there are no objects. Once we lived in what we saw; now, the rapaciousness of this new power, which threatens to absorb all things, engages us. Nature, art, persons, letters, religions, — objects, successively tumble in, and God is but one of its ideas. Nature and literature are subjective phenomena; every evil and every good thing is a shadow which we cast. The street is full of humiliations to the proud. As the fop contrived to dress his bailiffs in his livery, and make them wait on his guests at table, so the chagrins which the bad heart gives off as bubbles, at once take form as ladies and gentlemen in the street, shopmen or barkeepers in hotels, and threaten or insult whatever is threatenable and insultable in us. 'Tis the same with our idolatries. People forget that it is the eye which makes the horizon, and the rounding mind's eye which makes this or that man a type or representative of humanity with the name of hero or saint. Jesus the "providential man," is a good man on whom many people are agreed that these optical laws shall take effect. By love on one part, and by forbearance to press objection on the other part, it is for a time settled, that we will look at him in the centre of the horizon, and ascribe to him the properties that will attach to any man so seen. But the longest love or aversion has a speedy term. The great and crescive self, rooted in absolute nature, supplants all relative existence, and ruins the kingdom of mortal friendship and love. Marriage (in what is called the spiritual world) is impossible, because of the inequality between every subject and every object. The subject is the receiver of Godhead, and at every comparison must feel his being enhanced by that cryptic might. Though not in energy, yet by presence, this magazine of substance cannot be otherwise than felt: nor can any force of intellect attribute to the object the proper deity which sleeps or wakes forever in every subject. Never can love make consciousness and ascription equal in force. There will be the same gulf between every me and thee, as between the original and the picture. The universe is the bride of the soul. All private sympathy is partial. Two human beings are like globes, which can touch only in a point, and, whilst they remain in contact, all other points of each of the spheres are inert; their turn must also come, and the longer a particular union lasts, the more energy of appetency the parts not in union acquire.

Life will be imaged, but cannot be divided nor doubled. Any invasion of its unity would be chaos. The soul is not twin-born, but the only begotten, and though revealing itself as child in time, child in appearance, is of a fatal and universal power, admitting no co-life. Every day, every act betrays the ill-concealed deity. We believe in ourselves, as we do not believe in others. We permit all things to ourselves, and that which we call sin in others, is experiment for us. It is an instance of our faith in ourselves, that men never speak of crime as lightly as they think: or, every man thinks a latitude safe for himself, which is nowise to be indulged to another. The act looks very differently on the inside, and on the outside; in its quality, and in its consequences. Murder in the murderer is no such ruinous thought as poets and romancers will have it; it does not unsettle him, or fright him from his ordinary notice of trifles: it is an act quite easy to be contemplated, but in its sequel, it turns out to be a horrible jangle and confounding of all relations. Especially the crimes that spring from love, seem right and fair from the actor's point of view, but, when acted, are found destructive of society. No man at last believes that he can be lost, nor that the crime in him is as black as in the felon. Because the intellect qualifies in our own case the moral judgments. For there is no crime to the intellect. That is antinomian or hypernomian, and judges law as well as fact. "It is worse than a crime, it is a blunder," said Napoleon, speaking the language of the intellect. To it, the world is a problem in mathematics or the science of quantity, and it leaves out praise and blame, and all weak emotions. All stealing is comparative. If you come to absolutes, pray who does not steal? Saints are sad, because they behold sin, (even when they speculate,) from the point of view of the conscience, and not of the intellect; a confusion of thought. Sin seen from the thought, is a diminution or less : seen from the conscience or will, it is pravity or bad . The intellect names it shade, absence of light, and no essence. The conscience must feel it as essence, essential evil. This it is not: it has an objective existence, but no subjective.

Thus inevitably does the universe wear our color, and every object fall successively into the subject itself. The subject exists, the subject enlarges; all things sooner or later fall into place. As I am, so I see; use what language we will, we can never say anything but what we are; Hermes, Cadmus, Columbus, Newton, Buonaparte, are the mind's ministers. Instead of feeling a poverty when we encounter a great man, let us treat the new comer like a travelling geologist, who passes through our estate, and shows us good slate, or limestone, or anthracite, in our brush pasture. The partial action of each strong mind in one direction, is a telescope for the objects on which it is pointed. But every other part of knowledge is to be pushed to the same extravagance, ere the soul attains her due sphericity. Do you see that kitten chasing so prettily her own tail? If you could look with her eyes, you might see her surrounded with hundreds of figures performing com-plex dramas, with tragic and comic issues , long conversations, many characters, many ups and downs of fate, — and meantime it is only puss and her tail. How long before our masquerade will end its noise of tamborines, laughter, and shouting, and we shall find it was a solitary performance? — A subject and an object, — it takes so much to make the galvanic circuit complete, but magnitude adds nothing. What imports it whether it is Kepler and the sphere; Columbus and America; a reader and his book; or puss with her tail?

It is true that all the muses and love and religion hate these developments, and will find a way to punish the chemist, who publishes in the parlor the secrets of the laboratory. And we cannot say too little of our constitutional necessity of seeing things under private aspects, or saturated with our humors. And yet is the God the native of these bleak rocks. That need makes in morals the capital virtue of self-trust. We must hold hard to this poverty, however scandalous, and by more vigorous self-recoveries, after the sallies of action, possess our axis more firmly. The life of truth is cold, and so far mournful; but it is not the slave of tears, contritions, and perturbations. It does not attempt another's work, nor adopt another's facts. It is a main lesson of wisdom to know your own from another's. I have learned that I cannot dispose of other people's facts; but I possess such a key to my own, as persuades me against all their denials, that they also have a key to theirs. A sympathetic person is placed in the dilemma of a swimmer among drowning men, who all catch at him, and if he give so much as a leg or a finger, they will drown him. They wish to be saved from the mischiefs of their vices, but not from their vices. Charity would be wasted on this poor waiting on the symptoms. A wise and hardy physician will say, Come out of that , as the first condition of advice.

In this our talking America, we are ruined by our good nature and listening on all sides. This compliance takes away the power of being greatly useful. A man should not be able to look other than directly and forthright. A preoccupied attention is the only answer to the importunate frivolity of other people: an attention, and to an aim which makes their wants frivolous. This is a divine answer, and leaves no appeal, and no hard thoughts. In Flaxman's drawing of the Eumenides of Aeschylus, Orestes supplicates Apollo, whilst the Furies sleep on the threshold. The face of the god expresses a shade of regret and compassion, but calm with the conviction of the irreconcilableness of the two spheres. He is born into other politics, into the eternal and beautiful. The man at his feet asks for his interest in turmoils of the earth, into which his nature cannot enter. And the Eumenides there lying express pictorially this disparity. The god is surcharged with his divine destiny.

Illusion, Temperament, Succession, Surface, Surprise, Reality, Subjectiveness, — these are threads on the loom of time, these are the lords of life. I dare not assume to give their order, but I name them as I find them in my way. I know better than to claim any completeness for my picture. I am a fragment, and this is a fragment of me. I can very confidently announce one or another law, which throws itself into relief and form, but I am too young yet by some ages to compile a code. I gossip for my hour concerning the eternal politics. I have seen many fair pictures not in vain. A wonderful time I have lived in. I am not the novice I was fourteen, nor yet seven years ago. Let who will ask, where is the fruit? I find a private fruit sufficient. This is a fruit, — that I should not ask for a rash effect from meditations, counsels, and the hiving of truths. I should feel it pitiful to demand a result on this town and county, an overt effect on the instant month and year. The effect is deep and secular as the cause. It works on periods in which mortal lifetime is lost. All I know is reception; I am and I have: but I do not get, and when I have fancied I had gotten anything, I found I did not. I worship with wonder the great Fortune. My reception has been so large, that I am not annoyed by receiving this or that superabundantly. I say to the Genius, if he will pardon the proverb, I n for a mill, in for a million . When I receive a new gift, I do not macerate my body to make the account square, for, if I should die, I could not make the account square. The benefit overran the merit the first day, and has overran the merit ever since. The merit itself, so-called, I reckon part of the receiving.

Also, that hankering after an overt or practical effect seems to me an apostasy. In good earnest, I am willing to spare this most unnecessary deal of doing. Life wears to me a visionary face. Hardest, roughest action is visionary also. It is but a choice between soft and turbulent dreams. People disparage knowing and the intellectual life, and urge doing. I am very content with knowing, if only I could know. That is an august entertainment, and would suffice me a great while. To know a little, would be worth the expense of this world. I hear always the law of Adrastia, "that every soul which had acquired any truth, should be safe from harm until another period."

I know that the world I converse with in the city and in the farms, is not the world I think . I observe that difference and shall observe it. One day, I shall know the value and law of this discrepance. But I have not found that much was gained by manipular attempts to realize the world of thought. Many eager persons successively make an experiment in this way, and make themselves ridiculous. They acquire democratic manners , they foam at the mouth, they hate and deny. Worse, I observe, that, in the history of mankind, there is never a solitary example of success, — taking their own tests of success. I say this polemically, or in reply to the inquiry, why not realize your world? But far be from me the despair which prejudges the law by a paltry empiricism, — since there never was a right endeavor, but it succeeded. Patience and patience, we shall win at the last. We must be very suspicious of the deceptions of the element of time. It takes a good deal of time to eat or to sleep, or to earn a hundred dollars, and a very little time to entertain a hope and an insight which becomes the light of our life. We dress our garden, eat our dinners, discuss the household with our wives, and these things make no impression, are forgotten next week; but in the solitude to which every man is always returning, he has a sanity and revelations, which in his passage into new worlds he will carry with him. Never mind the ridicule, never mind the defeat: up again, old heart! — it seems to say, — there is victory yet for all justice; and the true romance which the world exists to realize, will be the transformation of genius into practical power.

What does Emerson say in the essay The Experience?

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How to Write About Experience: A Step-by-Step Guide

Whether you are writing a college application essay or creative nonfiction, this guide will help you how to write about experience.

There are many theories about how and why humans evolved to have an unparalleled capacity for language. One theory is that two million years ago, early humans developed language to describe their personal experiences with toolmaking to teach those skills to others. 

When you write nonfiction about your own experience, in any format, you are doing something profound. You are creating an opportunity for empathy and learning. 

Writing about your own experience may sound easy (after all, you’re the world’s foremost expert on yourself), but it isn’t always as simple as “Me name Oog. Me make knife by flaking chip from stone, see!” The personal essay writing process is full of risks and potential pitfalls. However, doing it well is within nearly anyone’s grasp if they follow a few basic steps. 

Write About Tension and Conflict

Write about growth, write about something remarkable yet relatable, listing ten ideas, organizational revision, thematic revision, stylistic revision, proofreading, the bottom line on writing about experiences, what are some good topics for a life experience essay, what are examples of personal experiences, step 1: choose a topic.

If you’re old enough to write a personal essay, you’ve lived long enough to have a wealth of experiences to write about. You may think nobody would want to read about your boring life, but you’re wrong. The key is simply choosing the right experiences to write about.

In any piece of writing—a novel, a memoir, or even a college application essay—the number one way to keep a reader’s interest is to focus on two dynamics: tension and conflict. Ideally, this will include both external conflict (you versus an obstacle in the outside world) and an internal conflict (you versus yourself, emotionally speaking).

Conflict is essential for a good essay. Nobody wants to read about the dinner party you hosted where the food turned out great, the guests all got along, and someone helped you do the dishes before they left. Instead, they want to read about the dinner party you hosted where one guest threw a glass of wine in her husband’s face before storming out. Conflict makes every story more interesting. 

Tension is different from conflict, but they are related. One form of tension is that uneasy period of waiting for the obviously inevitable conflict to occur. For example, suppose conflict is a glass of wine to the face.

In that case, tension is the wife slicing her steak viciously as she watches her husband play footsie with another woman, growing red-faced with anger, standing up to leave, realizing she has a glass of wine in her hand, throwing it, and the horrifying slow-motion sequence of red wine flying through the air on the way to her husband’s face.

Tension can take a variety of other forms. Foreshadowing can create tension. If you mention that the party ended with a glass of wine to the face, but you start by describing a party that is going smoothly, the reader’s curiosity about how the party went from A to point Z can create tension. 

The subtext is another good strategy. If you can give the reader the feeling that not all is as it appears or that they know more than the characters do, the reader will wonder if and how the characters will figure it out and what conflict will result.

There are exceptions, but in general, readers find stasis boring and growth interesting. Even in the case of our caveman Oog describing his innovative stone tool construction technique, communicating about how you learned to do something important is intrinsically interesting. That is why 99% of protagonists in fiction (James Bond excluded) experience an arc of personal growth over the course of a story. Nonfiction is no different.

Phillip Lopate, an expert on the art of creative nonfiction, calls it the “double-perspective.” He explains , “In writing memoir, the trick, it seems to me, is to establish a double-perspective, which will allow the reader to participate vicariously in the experience as it was lived (the confusions and misapprehensions of the child one was, say) while conveying the sophisticated wisdom of one’s current self.”

This does not necessarily mean that your writing should contain anything as heavy-handed as an explicit lesson or moral. Instead, your goal should be to balance clarity and subtlety. The key is to show growth rather than merely telling the reader that you grew.

One of my mother’s favorite stories is about a “rubber” chicken. In this story, she, a newlywed, prepared a wonderful dinner to impress her in-laws. As she carried out a platter topped with a golden, steaming, juicy chicken that she had roasted to perfection, she tripped on a rug.

Everyone stared as the chicken launched off the platter, bouncing across the room like a rubber ball. Concealing her panic with an upbeat tone, she said, “Oops! I’ll be right back.” She picked the chicken up from the floor, took it into the kitchen, dusted it off, put it back on the platter, and walked back into the dining room. Beaming, she announced, “Good thing I roasted a backup chicken!” 

It could have happened to anyone. Something like it (embarrassment at the moment you’re trying your hardest to impress someone) has happened to everyone. It is entirely relatable, but it is also remarkable. It is a story with tension and humor baked in (pardon the pun). The visual image of the chicken bouncing across the room is memorable. Listening to the story, I felt her triumph as she overcame her panic and devised a creative solution. 

The point is you don’t need to have worked as a war zone medic or climbed Mt. Everest to write a compelling story about your own experience. You simply need to mine your memories for moments that will surprise your readers, spark an emotional response, and engage their empathy.

Step 2: Brainstorm and Build

Coming up with the base topic that will form the backbone of your essay is the easy part. The next step is to develop the idea into a draft.

If I had in mind that I wanted to write a story about my mother, I might start by thinking about how she is a kind and caring person. She grew up on a farm, and she taught me to read …  BORING! When it comes to writing essays, the first idea is rarely the best idea. 

One great strategy for digging deeper, to find the truly interesting story, is to make a list. Force yourself to make a list of at least ten different things you could write about that fit the subject.

Even if you love the second or third idea, press on and write at least ten bullet points. You may stick with the second idea, but it’s more likely that around idea eight or nine, you’ll start running out of steam, and then BAM! You’ll remember the rubber chicken.

Even if you already have the central spine of your story, you can use this technique to flesh it out. I might try to think of the top ten lessons I learned from hearing my mother’s rubber chicken story (stay calm, think fast, lie when necessary, don’t put throw rugs in the dining room, always cook a backup chicken, etc.). Just remember that your first idea will almost always be the most boring, obvious idea. Dig through the chaff until you get to the wheat.

Mind maps are a great way to brainstorm connections that will give your essay depth. Take your central idea and write it in the center of the page, and then circle it. For example, I might write “Rubber Chicken” in the middle as my starting point.

Then draw lines radiating away from the circle, and at the end of each line, write down an idea related (even if tangentially) to the central topic. For example, my second-level ideas might include connections like “Mom teaching me how to cook,” “Vegetarianism,” “When honest people lie,” “Overcoming humiliation,” and “Disastrous first impressions.” Write as many as you can.

Circle each second-level idea, then repeat the process. Then see if you can find connections between any second and third-level ideas and draw lines connecting them.

In going through this process, I might discover that rather than writing about my mother’s rubber chicken story itself, I really want to write about terrible first date experiences (connecting the humiliation and first impressions topics). I might realize that I can use the rubber chicken story as an anecdote that contrasts how I actually handled a disastrous blind date with how I wish I’d handled it. 

These kinds of unexpected connections often result in the most innovative essays. 

One of my favorite essays that I’ve written appeared in my mind, fully formed, after I read a truly stunning essay (Leslie Jamison’s “The Empathy Exams.”). I set the book down on the couch next to me and grabbed my laptop to start writing. When I finally stood up, five thousand words later, I had a free-write that, with editing, became a pretty strong essay. 

It is rarely the case that a brain dump results in a structurally sound essay in the first draft. But even when the result is a hot mess that will never see the light of day, it is an extremely valuable exercise.

A no-thoughts-censored free-write uses the momentum of your internal, intuitive sense of narrative to help you uncover ideas that you would never have thought of simply by making lists or writing your first draft using a pre-determined structure and outline.

You might only save a sentence or two from your free-write to use in your actual essay. Still, the process of getting into a flow state, writing without constraints, simply letting your brain wander is an invaluable creative process. You might need to repeatedly free-write related themes to find the magical glue that holds your essay together. 

Step 4: Revise, Revise, Revise

This section is not simply called “Revise” because the truth is virtually no great essays about your experience result from one writing session and one revision session. Therefore, revision should be viewed not as a single editing pass but as a series of them, each targeting a specific aspect of the essay. 

It is crucial to find the proper structure for your topic. Once you do, you may need to rewrite substantial sections of your draft or write entirely new sections. Therefore, structural revision should always be the first editing pass you make to save yourself wasted time and effort (for example, time spent proofreading a section you end up cutting). 

You can go with a standard structure, like chronological order, or using a “frame story” (for example, starting with a flash-forward to the ending, then moving back in time to tell the story in a chronological format), or the classic three-act structure (set-up, rising action, and climax/resolution).

You can also try a more creative or innovative structure. The “braided essay,” in which you have several distinct threads/stories that weave together, is a great choice. 

You may need to try fitting your essay into several structures before you find the one that works best for describing your experience. Don’t be afraid to think outside of the box.

At the same time, don’t get so attached to a structural gimmick (reverse-chronological order, or present tense, or anything other than first-person, for example) that it distracts from the substance of your writing.

Once you have the general structure, consider how you’ve integrated your major themes. Do they cohere, or do they send the reader’s mind heading in too many directions? Are they too obvious, or are they too subtle? Can you find ways to represent your theme implicitly, using symbolic images?

For example, is there an anecdote you can swap out for a different one that addresses the theme more meaningfully?

If it turns out all of your content related to one theme is in the last third of your essay, consider how you can sprinkle it into the beginning. Or perhaps you’ll want to do the opposite.

Is your essay structured to build up to a huge and unexpected revelation? Maybe you want to cut out obvious hints about the revelation that slipped into the first half. 

Only after the substance of the essay feels solid should you give serious attention to your sentence quality, but that doesn’t make it any less important. If you have any doubt about the power of style to elevate an essay, read one by David Sedaris, Virginia Woolf, Hunter S. Thompson, or James Baldwin.

When you’re editing for style, one of the best strategies is reading your essay aloud. Consider how your sentence length and structure affect pacing and emphasis. 

Remember that you’re writing about your experience, so the authorial voice should sound like you . You can aim for a slightly elevated version of how you normally speak, but be careful not to elevate it too much. Many otherwise delightful essays have been ruined by overly formal diction or overuse of a thesaurus.

Revision is a great time to inject some humor. You might also do a little research and include a quotation that fits your theme or some factual information that contextualizes the personal experience you’re writing about. 

Try to replace vague, mundane details with unusual, specific information. (My mother’s roasted chicken didn’t just fall to the floor, it bounced across the room like a rubber ball, for example.) Replace the passive voice with action verbs. Find good opportunities for figurative language, but don’t overdo it. 

Only when your essay feels like it’s polished and firing on all cylinders should you bother to look for typos and formatting problems. Unfortunately, by this time, you will likely be unable to actually read your essay. Instead, your eyes will skip over it and read what you expect to see there rather than the words that are actually on the page. 

That makes it extremely important to have a friend proofread your essay rather than doing it all yourself. The good news is, your essay should be so well-written at this point, from your previous rounds of editing, that it will be a pleasure for your friend to read for you.

There are certain essays and essay collections that stick with you. Sometimes it’s because the author had a truly extraordinary experience, but more often is because in reflecting on the subject, the author showed genuine insight into their own life that sparks the reader to have a new understanding of their own life.

With deliberate use of conflict, vivid detail, and the double-perspective, you can elevate your own experience and inspire others with your writing. 

FAQs on How to Write About Experience

You can’t go wrong following the three guidelines described above (write about tension and conflict, write about growth, and write about something remarkable but relatable). However, the specific experiences you write about should be guided by the goal of the writing.

For example, if you’re writing a college application essay, make sure that you directly and specifically answer the prompt. If the application asks, “Describe a person you admire and why,” don’t forget to explain the why (not just what admirable thing the person did, but why that thing mattered to you personally). But even though the prompt doesn’t ask it, remember the overall Why? Why should they want a student like you at their university?

The same principle applies when writing about your work history and other relevant experience for a prospective employer. Perhaps above all, the university or hiring manager you’re writing for wants to see that you have the potential, under their guidance, to grow as an intellectual/professional and as a human being. So show them that you know how to grow.

Even if you’re writing an essay that is more creative, more literary, focusing on the double-perspective is often the easiest way to find an essay topic with enough meaningful substance to mine. Look for a past experience that is vivid in your memory (so that you can accurately and compellingly portray your younger self’s experience) but is also remote enough to show growth (by contrasting the at-the-time experience with a new perspective).

Trauma can be a tempting starting point for an essay, but be cautious. Unless you have sufficient distance and have done the hard work of processing and recovery, trauma can be just as challenging to read as it is to write. A good rule of thumb is that if you can’t write about your trauma without including at least a few moments of levity, you aren’t ready to write about it for others to read.

If you’re trying to write about your experiences and still struggling to come up with a subject, here are five great starting points: 1. Write about a time when you faced significant obstacles and overcame them. 2. Write about the end of a meaningful relationship, for better or worse. 3. Write about the first time you visited a place totally unlike your usual environment and what it showed you about your blind spots. 4. Write about a firmly held belief you used to have and what changed your mind. 5. Write about a habit that is important to you and how you formed it.

Emily Cordo is a freelance writer with an MFA in creative writing from Texas State University. She spends her spare time practicing yoga, cuddling her 20-year-old cat, and running a mini-farm in Indiana.

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Personal Experience Essay Writing Tips

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The good old personal experience essays are a staple in every school curriculum. But they’re also quite a challenge to write. Nevertheless, they’re an excellent way to demonstrate your personality and what you’ve learned in life.

If you’re looking for some tips on how to write the perfect essay, you’re in the right place. This article has great tips for you, along with a  personal experience example .

Get to know what separates a great essay from a mundane one. Also, discover some helpful tips that will make it easier for you to write a solid essay. Let’s get into it!

What Makes a Great Essay

Five main qualities should be present in every great essay. These qualities are Focus, Development, Unity, Coherence, and Correctness.

Your essay should have a central focus and a specific point. When you write, it’s critical to consider how to address your overall point to make the essay flow for the reader.

If you don’t have a clear point, it will be difficult to focus and make a clear argument in the essay.

2. Development

Each of your sentences and paragraphs must support each other so that they create a cohesive, complete piece of writing. Each of your paragraphs should be explained and illustrated through samples, details, or descriptions .

All the ideas in your essay should be drawn to your central idea. You can then have a later section that ties all the ideas together, reiterating what you’ve learned and brought new thoughts to the table.

4. Coherence

An essay or paper should be organized logically, flow smoothly, and stick together. In other words, everything in the essay should make sense to the reader. Paragraphs need to be structured and cohesive, highlighting how the information is mutually related.

5. Correctness

Correctness refers to the absence of any error in the grammar or spelling of the article. The paper should also be formatted correctly with regard to grammar, punctuation, and style.

Personal Experience Writing Tips

Choose an interesting experience..

Think of an experience in your life that’s worth sharing. It can be anything from your first day at school or learning that your dog just died. Take something different, but be truthful and honest, and be able to tie it all together in the reader’s mind.

Some of the good things that you can write about are:

• Relationship with an important person, such as a grandparent or best friend.
• An encounter with someone special that forever changed you.
• An embarrassing moment that happened to you
• A life-changing event
• Something that you did that was meaningful.
• An event that was small but had a significant impact.
• Your experience and memory of a place that embodies who you are or has meaning for you.
• New journey or venture
• A fear that you overcame
• A relationship, activity, or event that ended
• Experience with people you worked with

Paint a picture with your words

You want your reader to feel that they’re experiencing the story while reading it. And the best way to do this is to use sensory details. Tie yourself deeper into the experience with your thoughts and feelings.

Try to make the story seem more real and vivid. And use a chronological order to make the story easier for your reader to understand.

Create an emotional impact

To create an emotional impact through your essay, you need to make your readers feel that you are speaking from their perspective.

This can be done by using their language, telling them your experiences as if you were telling them a narrative. It can also be discussing your achievement or comparing yourself to others to find common ground.

Personal Experience Example and Structure

Introduction.

In your personal essay introduction, you want to start with an emotional hook. Introduce the topic with an eye-catching phrase, shocking statistic, or interesting tidbit.

I like to start my essays by describing the emotional impact my personal experience had on me. You want to create a clear emotional hook in the opening sentence and throughout the essay to help motivate the reader.

Everybody has that one moment when everything comes to a stop. For me, it was the day my brother got into a car accident. I remember sitting in the emergency room, sweaty and dizzy. Everybody was rushing around, but for me, it was like time played in slow motion. The doctor walked in a few minutes later, giving us the devastating news: my brother had severe, life-threatening brain damage. He had to get surgery right away, or he might not make it.

Upon reading this first paragraph, you can already start to feel the effect and emotion that this essay will bring.

The body of your essay is the perfect time to paint the picture of your chosen life experience. Try to expound and tell the narrative based on your personal feelings and observations. Try to talk about:

• Your feelings
• What was going through your mind
• The details of your surroundings

The body of your essay can be two to three paragraphs long, depending on your school’s requirements.

After hearing the news, I ran outside to catch some air. I was shocked and felt upset at what had just happened. My heart was racing, and I just felt confused. After the initial confusion, I went to check on my family.

My little sister was sitting on the old brown couch in the waiting room. Her hands were covering her eyes, and she was shaking so violently. It was hard to believe what was happening. I comforted her. “Everything is going to be alright”, I said to her.

After a few hours of waiting, which felt like years, a doctor walked through the operating room doors. He was sweating and worn out; it was obvious that he was tired. But he had a warm smile across his face, which gave me some comfort. He walked over to my dad and said something to him. My dad instantly let out a sigh of relief and went on silently crying. It was as if a weight was lifted off his shoulders.

For your conclusion, you want to write about what you learned from the experience.

The surgery was successful. My brother was going to live. I couldn’t even put into words the joy I felt at that very moment. We went over and hugged my dad. It was a tight hug, and we kept our foreheads touching. My dad thanked the doctor repeatedly for saving my brother’s life. I can still hear my father saying, “I owe you my son’s life”.

Several hours later, we walked into the recovery room where my brother was. He was already conscious, and his ears perked up when he heard us come in. “I was always an awful driver”, he said weakly through labored breathing. That was my brother. He was still attempting to make us laugh even in the face of death. A week and a half later, my brother was home. After that harrowing experience, I realized how fragile life is. And I decided that I would live every day fully aware that this is the only life I would live. I will cherish every moment.

Final Thoughts

A personal experience   essay is a great exercise for developing and improving your skills. Getting the perfect structure is often difficult but necessary.

With some fine-tuning on the structure and some practice, you could compose a beautiful and unforgettable personal experience essay. Hopefully, you’ve gotten some inspiration from the  personal experience example  and tips in this article.

Abir Ghenaiet

Abir is a data analyst and researcher. Among her interests are artificial intelligence, machine learning, and natural language processing. As a humanitarian and educator, she actively supports women in tech and promotes diversity.

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How to write an Essay about Good Experience?

The best way to write a successful essay is to write essay about good experience. The advantage of choosing essay about good experience for your term paper is that you will know the subject of your work perfectly. And only the writer who is the master of his topic can present it in the best light.

Writing an essay about good experience can be a powerful way to discover the meaning of your past and share your previous achievements with others.

Table of Contents

Look at the Situation from Different Perspectives

When you write an essay about good experience you have 2 perspectives: present perspective and the one that you had the time the event mentioned in the essay occurred. The space that is between both of these perspectives is where you can find the significance of your experience.

Did you Know we can Write your Essay for You? 

Use Your Memory

If the event described in the essay is recent, you will be closer to “you” that experienced the event. But in case the event is more distant you will need to reflect on your experience, refresh your reactions and emotions. You will easily mention that reactions of that time and meaning of the experience would be different.

As you start writing your essay you will have to decide whether you will talk about your experience as you see it at present or as you saw it that time. Also you can do both of these things or use your present perspective as a conclusion for your essay.

How Perspective Can Change?

No matter what kind of experience you describe in your essay, your attitude to it will definitely change. If it seemed extremely valuable and significant that time it can become an ordinary thing after years. The best essays usually show the way how perspective was changed. Id demonstrates the ability of wrier to analyze the situation, to compare different points of view and to draw conclusions. Also it would be a benefit if you could state what lesson your experience gave you and what steps it encouraged you to take.

Healing Through the Writing

When you write about your experience it brings you into insights about that time of the life. Putting your emotions and thoughts about experience on paper can help you in healing hurts and growing over the past events. No matter how old you are you can gain a lot while writing about your past.

Effective Essay Structure & Organization

The most important thing in writing essay about good experience is to organize the memories and write them down effectively. Below you can find several strategies that can help you to organize the memories and feeling of the past into the essay.

Ways to Organize Good Experience Essay

Be chronological. It is the most effective and obvious way to successful story. You should describe the events the way they happened. Don’t forget to tell enough details, so that the reader could be drawn into the story. Avoid using a lot of them, preventing readers getting bored. Tell the story consequently:  the least important events should lead to the most important ones gradually.

Your essay should have a fulfillment of the expectations. Expect what you or other people expected from the experience and that contrast that expectations with the real experience you had. It is the easiest technique. Display internal and external conflicts through your writing. Using this technique you will be able to organize the story around the events that happen internally in your mind and the ones that took place in real.

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Extracurriculars.

16 Strong College Essay Examples from Top Schools

What’s Covered:

• Common App Essays
• Why This College Essays
• Why This Major Essays
• Extracurricular Essays
• Overcoming Challenges Essays
• Community Service Essays
• Diversity Essays
• Political/Global Issues Essays
• Where to Get Feedback on Your Essays

Most high school students don’t get a lot of experience with creative writing, so the college essay can be especially daunting. Reading examples of successful essays, however, can help you understand what admissions officers are looking for.

In this post, we’ll share 16 college essay examples of many different topics. Most of the essay prompts fall into 8 different archetypes, and you can approach each prompt under that archetype in a similar way. We’ve grouped these examples by archetype so you can better structure your approach to college essays.

If you’re looking for school-specific guides, check out our 2022-2023 essay breakdowns .

Looking at examples of real essays students have submitted to colleges can be very beneficial to get inspiration for your essays. You should never copy or plagiarize from these examples when writing your own essays. Colleges can tell when an essay isn’t genuine and will not view students favorably if they plagiarized. 

Note: the essays are titled in this post for navigation purposes, but they were not originally titled. We also include the original prompt where possible.

The Common App essay goes to all of the schools on your list, unless those schools use a separate application platform. Because of this, it’s the most important essay in your portfolio, and likely the longest essay you’ll need to write (you get up to 650 words). 

The goal of this essay is to share a glimpse into who you are, what matters to you, and what you hope to achieve. It’s a chance to share your story. 

Learn more about how to write the Common App essay in our complete guide.

The Multiple Meanings of Point

Prompt: Some students have a background, identity, interest, or talent that is so meaningful they believe their application would be incomplete without it. If this sounds like you, then please share your story. (250-650 words)

Night had robbed the academy of its daytime colors, yet there was comfort in the dim lights that cast shadows of our advances against the bare studio walls. Silhouettes of roundhouse kicks, spin crescent kicks, uppercuts and the occasional butterfly kick danced while we sparred. She approached me, eyes narrowed with the trace of a smirk challenging me. “Ready spar!” Her arm began an upward trajectory targeting my shoulder, a common first move. I sidestepped — only to almost collide with another flying fist. Pivoting my right foot, I snapped my left leg, aiming my heel at her midsection. The center judge raised one finger. 

There was no time to celebrate, not in the traditional sense at least. Master Pollard gave a brief command greeted with a unanimous “Yes, sir” and the thud of 20 hands dropping-down-and-giving-him-30, while the “winners” celebrated their victory with laps as usual. 

Three years ago, seven-thirty in the evening meant I was a warrior. It meant standing up straighter, pushing a little harder, “Yes, sir” and “Yes, ma’am”, celebrating birthdays by breaking boards, never pointing your toes, and familiarity. Three years later, seven-thirty in the morning meant I was nervous. 

The room is uncomfortably large. The sprung floor soaks up the checkerboard of sunlight piercing through the colonial windows. The mirrored walls further illuminate the studio and I feel the light scrutinizing my sorry attempts at a pas de bourrée, while capturing the organic fluidity of the dancers around me. “Chassé en croix, grand battement, pique, pirouette.” I follow the graceful limbs of the woman in front of me, her legs floating ribbons, as she executes what seems to be a perfect ronds de jambes. Each movement remains a negotiation. With admirable patience, Ms. Tan casts me a sympathetic glance.   

There is no time to wallow in the misery that is my right foot. Taekwondo calls for dorsiflexion; pointed toes are synonymous with broken toes. My thoughts drag me into a flashback of the usual response to this painful mistake: “You might as well grab a tutu and head to the ballet studio next door.” Well, here I am Master Pollard, unfortunately still following your orders to never point my toes, but no longer feeling the satisfaction that comes with being a third degree black belt with 5 years of experience quite literally under her belt. It’s like being a white belt again — just in a leotard and ballet slippers. 

But the appetite for new beginnings that brought me here doesn’t falter. It is only reinforced by the classical rendition of “Dancing Queen” that floods the room and the ghost of familiarity that reassures me that this new beginning does not and will not erase the past. After years spent at the top, it’s hard to start over. But surrendering what you are only leads you to what you may become. In Taekwondo, we started each class reciting the tenets: honor, courtesy, integrity, perseverance, self-control, courage, humility, and knowledge, and I have never felt that I embodied those traits more so than when I started ballet. 

The thing about change is that it eventually stops making things so different. After nine different schools, four different countries, three different continents, fluency in Tamil, Norwegian, and English, there are more blurred lines than there are clear fragments. My life has not been a tactfully executed, gold medal-worthy Taekwondo form with each movement defined, nor has it been a series of frappés performed by a prima ballerina with each extension identical and precise, but thankfully it has been like the dynamics of a spinning back kick, fluid, and like my chances of landing a pirouette, unpredictable. 

The first obvious strength of this essay is the introduction—it is interesting and snappy and uses enough technical language that we want to figure out what the student is discussing. When writing introductions, students tend to walk the line between intriguing and confusing. It is important that your essay ends up on the intentionally intriguing side of that line—like this student does! We are a little confused at first, but by then introducing the idea of “sparring,” the student grounds their essay.

People often advise young writers to “show, not tell.” This student takes that advice a step further and makes the reader do a bit of work to figure out what they are telling us. Nowhere in this essay does it say “After years of Taekwondo, I made the difficult decision to switch over to ballet.” Rather, the student says “It’s like being a white belt again — just in a leotard and ballet slippers.” How powerful! 

After a lot of emotional language and imagery, this student finishes off their essay with very valuable (and necessary!) reflection. They show admissions officers that they are more than just a good writer—they are a mature and self-aware individual who would be beneficial to a college campus. Self-awareness comes through with statements like “surrendering what you are only leads you to what you may become” and maturity can be seen through the student’s discussion of values: “honor, courtesy, integrity, perseverance, self-control, courage, humility, and knowledge, and I have never felt that I embodied those traits more so than when I started ballet.”

Sparking Self-Awareness

Prompt: The lessons we take from obstacles we encounter can be fundamental to later success. Recount a time when you faced a challenge, setback, or failure. How did it affect you, and what did you learn from the experience? (250-650 words)

Was I no longer the beloved daughter of nature, whisperer of trees? Knee-high rubber boots, camouflage, bug spray—I wore the garb and perfume of a proud wild woman, yet there I was, hunched over the pathetic pile of stubborn sticks, utterly stumped, on the verge of tears. As a child, I had considered myself a kind of rustic princess, a cradler of spiders and centipedes, who was serenaded by mourning doves and chickadees, who could glide through tick-infested meadows and emerge Lyme-free. I knew the cracks of the earth like the scars on my own rough palms. Yet here I was, ten years later, incapable of performing the most fundamental outdoor task: I could not, for the life of me, start a fire. 

Furiously I rubbed the twigs together—rubbed and rubbed until shreds of skin flaked from my fingers. No smoke. The twigs were too young, too sticky-green; I tossed them away with a shower of curses, and began tearing through the underbrush in search of a more flammable collection. My efforts were fruitless. Livid, I bit a rejected twig, determined to prove that the forest had spurned me, offering only young, wet bones that would never burn. But the wood cracked like carrots between my teeth—old, brittle, and bitter. Roaring and nursing my aching palms, I retreated to the tent, where I sulked and awaited the jeers of my family. 

Rattling their empty worm cans and reeking of fat fish, my brother and cousins swaggered into the campsite. Immediately, they noticed the minor stick massacre by the fire pit and called to me, their deep voices already sharp with contempt. 

“Where’s the fire, Princess Clara?” they taunted. “Having some trouble?” They prodded me with the ends of the chewed branches and, with a few effortless scrapes of wood on rock, sparked a red and roaring flame. My face burned long after I left the fire pit. The camp stank of salmon and shame. 

In the tent, I pondered my failure. Was I so dainty? Was I that incapable? I thought of my hands, how calloused and capable they had been, how tender and smooth they had become. It had been years since I’d kneaded mud between my fingers; instead of scaling a white pine, I’d practiced scales on my piano, my hands softening into those of a musician—fleshy and sensitive. And I’d gotten glasses, having grown horrifically nearsighted; long nights of dim lighting and thick books had done this. I couldn’t remember the last time I had lain down on a hill, barefaced, and seen the stars without having to squint. Crawling along the edge of the tent, a spider confirmed my transformation—he disgusted me, and I felt an overwhelming urge to squash him. 

Yet, I realized I hadn’t really changed—I had only shifted perspective. I still eagerly explored new worlds, but through poems and prose rather than pastures and puddles. I’d grown to prefer the boom of a bass over that of a bullfrog, learned to coax a different kind of fire from wood, having developed a burn for writing rhymes and scrawling hypotheses. 

That night, I stayed up late with my journal and wrote about the spider I had decided not to kill. I had tolerated him just barely, only shrieking when he jumped—it helped to watch him decorate the corners of the tent with his delicate webs, knowing that he couldn’t start fires, either. When the night grew cold and the embers died, my words still smoked—my hands burned from all that scrawling—and even when I fell asleep, the ideas kept sparking—I was on fire, always on fire.

First things first, this Common App essay is well-written. This student is definitely showing the admissions officers her ability to articulate her points beautifully and creatively. It starts with vivid images like that of the “rustic princess, a cradler of spiders and centipedes, who was serenaded by mourning doves and chickadees, who could glide through tick-infested meadows and emerge Lyme-free.” And because the prose is flowery (and beautiful!), the writer can get away with metaphors like “I knew the cracks of the earth like the scars on my own rough palms” that might sound cheesy without the clear command of the English language that the writer quickly establishes.

In addition to being well-written, this essay is thematically cohesive. It begins with the simple introduction “Fire!” and ends with the following image: “When the night grew cold and the embers died, my words still smoked—my hands burned from all that scrawling—and even when I fell asleep, the ideas kept sparking—I was on fire, always on fire.” This full-circle approach leaves readers satisfied and impressed.

While dialogue often comes off as cliche or trite, this student effectively incorporates her family members saying “Where’s the fire, Princess Clara?” This is achieved through the apt use of the verb “taunted” to characterize the questioning and through the question’s thematic connection to the earlier image of the student as a rustic princess. Similarly, rhetorical questions can feel randomly placed in essays, but this student’s inclusion of the questions “Was I so dainty?” and “Was I that incapable?” feel perfectly justified after she establishes that she was pondering her failure.

Quite simply, this essay shows how quality writing can make a simple story outstandingly compelling. 

Why This College?

“Why This College?” is one of the most common essay prompts, likely because schools want to understand whether you’d be a good fit and how you’d use their resources.

This essay is one of the more straightforward ones you’ll write for college applications, but you still can and should allow your voice to shine through.

Learn more about how to write the “Why This College?” essay in our guide.

Prompt: How will you explore your intellectual and academic interests at the University of Pennsylvania? Please answer this question given the specific undergraduate school to which you are applying (650 words).

Sister Simone Roach, a theorist of nursing ethics, said, “caring is the human mode of being.” I have long been inspired by Sister Roach’s Five C’s of Caring: commitment, conscience, competence, compassion, and confidence. Penn both embraces and fosters these values through a rigorous, interdisciplinary curriculum and unmatched access to service and volunteer opportunities.

COMMITMENT. Reading through the activities that Penn Quakers devote their time to (in addition to academics!) felt like drinking from a firehose in the best possible way. As a prospective nursing student with interests outside of my major, I value this level of flexibility. I plan to leverage Penn’s liberal arts curriculum to gain an in-depth understanding of the challenges LGBT people face, especially regarding healthcare access. Through courses like “Interactional Processes with LGBT Individuals” and volunteering at the Mazzoni Center for outreach, I hope to learn how to better support the Penn LGBT community as well as my family and friends, including my cousin, who came out as trans last year.

CONSCIENCE. As one of the first people in my family to attend a four-year university, I wanted a school that promoted a sense of moral responsibility among its students. At Penn, professors challenge their students to question and recreate their own set of morals by sparking thought- provoking, open-minded discussions. I can imagine myself advocating for universal healthcare in courses such as “Health Care Reform & Future of American Health System” and debating its merits with my peers. Studying in an environment where students confidently voice their opinions – conservative or liberal – will push me to question and strengthen my value system.

COMPETENCE. Two aspects that drew my attention to Penn’s BSN program were its high-quality research opportunities and hands-on nursing projects. Through its Office of Nursing Research, Penn connects students to faculty members who share similar research interests. As I volunteered at a nursing home in high school, I hope to work with Dr. Carthon to improve the quality of care for senior citizens. Seniors, especially minorities, face serious barriers to healthcare that I want to resolve. Additionally, Penn’s unique use of simulations to bridge the gap between classroom learning and real-world application impressed me. Using computerized manikins that mimic human responses, classes in Penn’s nursing program allow students to apply their emergency medical skills in a mass casualty simulation and monitor their actions afterward through a video system. Participating in this activity will help me identify my strengths and areas for improvement regarding crisis management and medical care in a controlled yet realistic setting. Research opportunities and simulations will develop my skills even before I interact with patients.

COMPASSION. I value giving back through community service, and I have a particular interest in Penn’s Community Champions and Nursing Students For Sexual & Reproductive Health (NSRH). As a four-year volunteer health educator, I hope to continue this work as a Community Champions member. I am excited to collaborate with medical students to teach fourth and fifth graders in the city about cardiology or lead a chair dance class for the elders at the LIFE Center. Furthermore, as a feminist who firmly believes in women’s abortion rights, I’d like to join NSRH in order to advocate for women’s health on campus. At Penn, I can work with like-minded people to make a meaningful difference.

CONFIDENCE. All of the Quakers that I have met possess one defining trait: confidence. Each student summarized their experiences at Penn as challenging but fulfilling. Although I expect my coursework to push me, from my conversations with current Quakers I know it will help me to be far more effective in my career.

The Five C’s of Caring are important heuristics for nursing, but they also provide insight into how I want to approach my time in college. I am eager to engage with these principles both as a nurse and as a Penn Quaker, and I can’t wait to start.

This prompt from Penn asks students to tailor their answer to their specific field of study. One great thing that this student does is identify their undergraduate school early, by mentioning “Sister Simone Roach, a theorist of nursing ethics.” You don’t want readers confused or searching through other parts of your application to figure out your major.

With a longer essay like this, it is important to establish structure. Some students organize their essay in a narrative form, using an anecdote from their past or predicting their future at a school. This student uses Roach’s 5 C’s of Caring as a framing device that organizes their essay around values. This works well!

While this essay occasionally loses voice, there are distinct moments where the student’s personality shines through. We see this with phrases like “felt like drinking from a fire hose in the best possible way” and “All of the Quakers that I have met possess one defining trait: confidence.” It is important to show off your personality to make your essay stand out. 

Finally, this student does a great job of referencing specific resources about Penn. It’s clear that they have done their research (they’ve even talked to current Quakers). They have dreams and ambitions that can only exist at Penn.

Prompt: What is it about Yale that has led you to apply? (125 words or fewer)

Coin collector and swimmer. Hungarian and Romanian. Critical and creative thinker. I was drawn to Yale because they don’t limit one’s mind with “or” but rather embrace unison with “and.” 

Wandering through the Beinecke Library, I prepare for my multidisciplinary Energy Studies capstone about the correlation between hedonism and climate change, making it my goal to find implications in environmental sociology. Under the tutelage of Assistant Professor Arielle Baskin-Sommers, I explore the emotional deficits of depression, utilizing neuroimaging to scrutinize my favorite branch of psychology: human perception. At Walden Peer Counseling, I integrate my peer support and active listening skills to foster an empathetic environment for the Yale community. Combining my interests in psychological and environmental studies is why I’m proud to be a Bulldog. 

This answer to the “Why This College” question is great because 1) the student shows their excitement about attending Yale 2) we learn the ways in which attending Yale will help them achieve their goals and 3) we learn their interests and identities.

In this response, you can find a prime example of the “Image of the Future” approach, as the student flashes forward and envisions their life at Yale, using present tense (“I explore,” “I integrate,” “I’m proud”). This approach is valuable if you are trying to emphasize your dedication to a specific school. Readers get the feeling that this student is constantly imagining themselves on campus—it feels like Yale really matters to them.

Starting this image with the Beinecke Library is great because the Beinecke Library only exists at Yale. It is important to tailor “Why This College” responses to each specific school. This student references a program of study, a professor, and an extracurricular that only exist at Yale. Additionally, they connect these unique resources to their interests—psychological and environmental studies.

Finally, we learn about the student (independent of academics) through this response. By the end of their 125 words, we know their hobbies, ethnicities, and social desires, in addition to their academic interests. It can be hard to tackle a 125-word response, but this student shows that it’s possible.

Why This Major?

The goal of this prompt is to understand how you came to be interested in your major and what you plan to do with it. For competitive programs like engineering, this essay helps admissions officers distinguish students who have a genuine passion and are most likely to succeed in the program. This is another more straightforward essay, but you do have a bit more freedom to include relevant anecdotes.

Learn more about how to write the “Why This Major?” essay in our guide.

Why Duke Engineering

Prompt: If you are applying to the Pratt School of Engineering as a first year applicant, please discuss why you want to study engineering and why you would like to study at Duke (250 words).

One Christmas morning, when I was nine, I opened a snap circuit set from my grandmother. Although I had always loved math and science, I didn’t realize my passion for engineering until I spent the rest of winter break creating different circuits to power various lights, alarms, and sensors. Even after I outgrew the toy, I kept the set in my bedroom at home and knew I wanted to study engineering. Later, in a high school biology class, I learned that engineering didn’t only apply to circuits, but also to medical devices that could improve people’s quality of life. Biomedical engineering allows me to pursue my academic passions and help people at the same time.

Just as biology and engineering interact in biomedical engineering, I am fascinated by interdisciplinary research in my chosen career path. Duke offers unmatched resources, such as DUhatch and The Foundry, that will enrich my engineering education and help me practice creative problem-solving skills. The emphasis on entrepreneurship within these resources will also help me to make a helpful product. Duke’s Bass Connections program also interests me; I firmly believe that the most creative and necessary problem-solving comes by bringing people together from different backgrounds. Through this program, I can use my engineering education to solve complicated societal problems such as creating sustainable surgical tools for low-income countries. Along the way, I can learn alongside experts in the field. Duke’s openness and collaborative culture span across its academic disciplines, making Duke the best place for me to grow both as an engineer and as a social advocate.

This prompt calls for a complex answer. Students must explain both why they want to study engineering and why Duke is the best place for them to study engineering.

This student begins with a nice hook—a simple anecdote about a simple present with profound consequences. They do not fluff up their anecdote with flowery images or emotionally-loaded language; it is what it is, and it is compelling and sweet. As their response continues, they express a particular interest in problem-solving. They position problem-solving as a fundamental part of their interest in engineering (and a fundamental part of their fascination with their childhood toy). This helps readers to learn about the student!

Problem-solving is also the avenue by which they introduce Duke’s resources—DUhatch, The Foundry, and Duke’s Bass Connections program. It is important to notice that the student explains how these resources can help them achieve their future goals—it is not enough to simply identify the resources!

This response is interesting and focused. It clearly answers the prompt, and it feels honest and authentic.

Why Georgia Tech CompSci

Prompt: Why do you want to study your chosen major specifically at Georgia Tech? (300 words max)

I held my breath and hit RUN. Yes! A plump white cat jumped out and began to catch the falling pizzas. Although my Fat Cat project seems simple now, it was the beginning of an enthusiastic passion for computer science. Four years and thousands of hours of programming later, that passion has grown into an intense desire to explore how computer science can serve society. Every day, surrounded by technology that can recognize my face and recommend scarily-specific ads, I’m reminded of Uncle Ben’s advice to a young Spiderman: “with great power comes great responsibility”. Likewise, the need to ensure digital equality has skyrocketed with AI’s far-reaching presence in society; and I believe that digital fairness starts with equality in education.

The unique use of threads at the College of Computing perfectly matches my interests in AI and its potential use in education; the path of combined threads on Intelligence and People gives me the rare opportunity to delve deep into both areas. I’m particularly intrigued by the rich sets of both knowledge-based and data-driven intelligence courses, as I believe AI should not only show correlation of events, but also provide insight for why they occur.

In my four years as an enthusiastic online English tutor, I’ve worked hard to help students overcome both financial and technological obstacles in hopes of bringing quality education to people from diverse backgrounds. For this reason, I’m extremely excited by the many courses in the People thread that focus on education and human-centered technology. I’d love to explore how to integrate AI technology into the teaching process to make education more available, affordable, and effective for people everywhere. And with the innumerable opportunities that Georgia Tech has to offer, I know that I will be able to go further here than anywhere else.

With a “Why This Major” essay, you want to avoid using all of your words to tell a story. That being said, stories are a great way to show your personality and make your essay stand out. This student’s story takes up only their first 21 words, but it positions the student as fun and funny and provides an endearing image of cats and pizzas—who doesn’t love cats and pizzas? There are other moments when the student’s personality shines through also, like the Spiderman reference.

While this pop culture reference adds color, it also is important for what the student is getting at: their passion. They want to go into computer science to address the issues of security and equity that are on the industry’s mind, and they acknowledge these concerns with their comments about “scarily-specific ads” and their statement that “the need to ensure digital equality has skyrocketed.” This student is self-aware and aware of the state of the industry. This aptitude will be appealing for admissions officers.

The conversation around “threads” is essential for this student’s response because the prompt asks specifically about the major at Georgia Tech and it is the only thing they reference that is specific to Georgia Tech. Threads are great, but this student would have benefitted from expanding on other opportunities specific to Georgia Tech later in the essay, instead of simply inserting “innumerable opportunities.”

Overall, this student shows personality, passion, and aptitude—precisely what admissions officers want to see!

Extracurricular Essay

You’re asked to describe your activities on the Common App, but chances are, you have at least one extracurricular that’s impacted you in a way you can’t explain in 150 characters.

This essay archetype allows you to share how your most important activity shaped you and how you might use those lessons learned in the future. You are definitely welcome to share anecdotes and use a narrative approach, but remember to include some reflection. A common mistake students make is to only describe the activity without sharing how it impacted them.

Learn more about how to write the Extracurricular Essay in our guide.

A Dedicated Musician

My fingers raced across the keys, rapidly striking one after another. My body swayed with the music as my hands raced across the piano. Crashing onto the final chord, it was over as quickly as it had begun. My shoulders relaxed and I couldn’t help but break into a satisfied grin. I had just played the Moonlight Sonata’s third movement, a longtime dream of mine. 

Four short months ago, though, I had considered it impossible. The piece’s tempo was impossibly fast, its notes stretching between each end of the piano, forcing me to reach farther than I had ever dared. It was 17 pages of the most fragile and intricate melodies I had ever encountered. 

But that summer, I found myself ready to take on the challenge. With the end of the school year, I was released from my commitment to practicing for band and solo performances. I was now free to determine my own musical path: either succeed in learning the piece, or let it defeat me for the third summer in a row. 

Over those few months, I spent countless hours practicing the same notes until they burned a permanent place in my memory, creating a soundtrack for even my dreams. Some would say I’ve mastered the piece, but as a musician I know better. Now that I can play it, I am eager to take the next step and add in layers of musicality and expression to make the once-impossible piece even more beautiful.

In this response, the student uses their extracurricular, piano, as a way to emphasize their positive qualities. At the beginning, readers are invited on a journey with the student where we feel their struggle, their intensity, and ultimately their satisfaction. With this descriptive image, we form a valuable connection with the student.

Then, we get to learn about what makes this student special: their dedication and work ethic. The fact that this student describes their desire to be productive during the summer shows an intensity that is appealing to admissions officers. Additionally, the growth mindset that this student emphasizes in their conclusion is appealing to admissions officers.

The Extracurricular Essay can be seen as an opportunity to characterize yourself. This student clearly identified their positive qualities, then used the Extracurricular Essay as a way to articulate them.

A Complicated Relationship with the School Newspaper

My school’s newspaper and I have a typical love-hate relationship; some days I want nothing more than to pass two hours writing and formatting articles, while on others the mere thought of student journalism makes me shiver. Still, as we’re entering our fourth year together, you could consider us relatively stable. We’ve learned to accept each other’s differences; at this point I’ve become comfortable spending an entire Friday night preparing for an upcoming issue, and I hardly even notice the snail-like speed of our computers. I’ve even benefitted from the polygamous nature of our relationship—with twelve other editors, there’s a lot of cooperation involved. Perverse as it may be, from that teamwork I’ve both gained some of my closest friends and improved my organizational and time-management skills. And though leaving it in the hands of new editors next year will be difficult, I know our time together has only better prepared me for future relationships.

This response is great. It’s cute and endearing and, importantly, tells readers a lot about the student who wrote it. Framing this essay in the context of a “love-hate relationship,” then supplementing with comments like “We’ve learned to accept each other’s differences” allows this student to advertise their maturity in a unique and engaging way. 

While Extracurricular Essays can be a place to show how you’ve grown within an activity, they can also be a place to show how you’ve grown through an activity. At the end of this essay, readers think that this student is mature and enjoyable, and we think that their experience with the school newspaper helped make them that way.

Participating in Democracy

Prompt: Research shows that an ability to learn from experiences outside the classroom correlates with success in college. What was your greatest learning experience over the past 4 years that took place outside of the traditional classroom? (250 words) 

The cool, white halls of the Rayburn House office building contrasted with the bustling energy of interns entertaining tourists, staffers rushing to cover committee meetings, and my fellow conference attendees separating to meet with our respective congresspeople. Through civics and US history classes, I had learned about our government, but simply hearing the legislative process outlined didn’t prepare me to navigate it. It was my first political conference, and, after learning about congressional mechanics during breakout sessions, I was lobbying my representative about an upcoming vote crucial to the US-Middle East relationship. As the daughter of Iranian immigrants, my whole life had led me to the moment when I could speak on behalf of the family members who had not emigrated with my parents.

As I sat down with my congresswoman’s chief of staff, I truly felt like a participant in democracy; I was exercising my right to be heard as a young American. Through this educational conference, I developed a plan of action to raise my voice. When I returned home, I signed up to volunteer with the state chapter of the Democratic Party. I sponsored letter-writing campaigns, canvassed for local elections, and even pursued an internship with a state senate campaign. I know that I don’t need to be old enough to vote to effect change. Most importantly, I also know that I want to study government—I want to make a difference for my communities in the United States and the Middle East throughout my career. 

While this prompt is about extracurricular activities, it specifically references the idea that the extracurricular should support the curricular. It is focused on experiential learning for future career success. This student wants to study government, so they chose to describe an experience of hands-on learning within their field—an apt choice!

As this student discusses their extracurricular experience, they also clue readers into their future goals—they want to help Middle Eastern communities. Admissions officers love when students mention concrete plans with a solid foundation. Here, the foundation comes from this student’s ethnicity. With lines like “my whole life had led me to the moment when I could speak on behalf of the family members who had not emigrated with my parents,” the student assures admissions officers of their emotional connection to their future field.

The strength of this essay comes from its connections. It connects the student’s extracurricular activity to their studies and connects theirs studies to their personal history.

Overcoming Challenges

You’re going to face a lot of setbacks in college, so admissions officers want to make you’re you have the resilience and resolve to overcome them. This essay is your chance to be vulnerable and connect to admissions officers on an emotional level.

Learn more about how to write the Overcoming Challenges Essay in our guide.

The Student Becomes the Master

”Advanced females ages 13 to 14 please proceed to staging with your coaches at this time.” Skittering around the room, eyes wide and pleading, I frantically explained my situation to nearby coaches. The seconds ticked away in my head; every polite refusal increased my desperation.

Despair weighed me down. I sank to my knees as a stream of competitors, coaches, and officials flowed around me. My dojang had no coach, and the tournament rules prohibited me from competing without one.

Although I wanted to remain strong, doubts began to cloud my mind. I could not help wondering: what was the point of perfecting my skills if I would never even compete? The other members of my team, who had found coaches minutes earlier, attempted to comfort me, but I barely heard their words. They couldn’t understand my despair at being left on the outside, and I never wanted them to understand.

Since my first lesson 12 years ago, the members of my dojang have become family. I have watched them grow up, finding my own happiness in theirs. Together, we have honed our kicks, blocks, and strikes. We have pushed one another to aim higher and become better martial artists. Although my dojang had searched for a reliable coach for years, we had not found one. When we attended competitions in the past, my teammates and I had always gotten lucky and found a sympathetic coach. Now, I knew this practice was unsustainable. It would devastate me to see the other members of my dojang in my situation, unable to compete and losing hope as a result. My dojang needed a coach, and I decided it was up to me to find one. 

I first approached the adults in the dojang – both instructors and members’ parents. However, these attempts only reacquainted me with polite refusals. Everyone I asked told me they couldn’t devote multiple weekends per year to competitions. I soon realized that I would have become the coach myself.

At first, the inner workings of tournaments were a mystery to me. To prepare myself for success as a coach, I spent the next year as an official and took coaching classes on the side. I learned everything from motivational strategies to technical, behind-the-scenes components of Taekwondo competitions. Though I emerged with new knowledge and confidence in my capabilities, others did not share this faith.

Parents threw me disbelieving looks when they learned that their children’s coach was only a child herself. My self-confidence was my armor, deflecting their surly glances. Every armor is penetrable, however, and as the relentless barrage of doubts pounded my resilience, it began to wear down. I grew unsure of my own abilities.

Despite the attack, I refused to give up. When I saw the shining eyes of the youngest students preparing for their first competition, I knew I couldn’t let them down. To quit would be to set them up to be barred from competing like I was. The knowledge that I could solve my dojang’s longtime problem motivated me to overcome my apprehension.

Now that my dojang flourishes at competitions, the attacks on me have weakened, but not ended. I may never win the approval of every parent; at times, I am still tormented by doubts, but I find solace in the fact that members of my dojang now only worry about competing to the best of their abilities.

Now, as I arrive at a tournament with my students, I close my eyes and remember the past. I visualize the frantic search for a coach and the chaos amongst my teammates as we competed with one another to find coaches before the staging calls for our respective divisions. I open my eyes to the exact opposite scene. Lacking a coach hurt my ability to compete, but I am proud to know that no member of my dojang will have to face that problem again.

This essay is great because it has a strong introduction and conclusion. The introduction is notably suspenseful and draws readers into the story. Because we know it is a college essay, we can assume that the student is one of the competitors, but at the same time, this introduction feels intentionally ambiguous as if the writer could be a competitor, a coach, a sibling of a competitor, or anyone else in the situation.

As we continue reading the essay, we learn that the writer is, in fact, the competitor. Readers also learn a lot about the student’s values as we hear their thoughts: “I knew I couldn’t let them down. To quit would be to set them up to be barred from competing like I was.” Ultimately, the conflict and inner and outer turmoil is resolved through the “Same, but Different” ending technique as the student places themself in the same environment that we saw in the intro, but experiencing it differently due to their actions throughout the narrative. This is a very compelling strategy!

Growing Sensitivity to Struggles

Prompt: The lessons we take from failure can be fundamental to later success. Recount an incident or time when you experienced failure. How did it affect you, and what did you learn from the experience? (650 words)

“You ruined my life!” After months of quiet anger, my brother finally confronted me. To my shame, I had been appallingly ignorant of his pain.

Despite being twins, Max and I are profoundly different. Having intellectual interests from a young age that, well, interested very few of my peers, I often felt out of step in comparison with my highly-social brother. Everything appeared to come effortlessly for Max and, while we share an extremely tight bond, his frequent time away with friends left me feeling more and more alone as we grew older.

When my parents learned about The Green Academy, we hoped it would be an opportunity for me to find not only an academically challenging environment, but also – perhaps more importantly – a community. This meant transferring the family from Drumfield to Kingston. And while there was concern about Max, we all believed that given his sociable nature, moving would be far less impactful on him than staying put might be on me.

As it turned out, Green Academy was everything I’d hoped for. I was ecstatic to discover a group of students with whom I shared interests and could truly engage. Preoccupied with new friends and a rigorous course load, I failed to notice that the tables had turned. Max, lost in the fray and grappling with how to make connections in his enormous new high school, had become withdrawn and lonely. It took me until Christmas time – and a massive argument – to recognize how difficult the transition had been for my brother, let alone that he blamed me for it.

Through my own journey of searching for academic peers, in addition to coming out as gay when I was 12, I had developed deep empathy for those who had trouble fitting in. It was a pain I knew well and could easily relate to. Yet after Max’s outburst, my first response was to protest that our parents – not I – had chosen to move us here. In my heart, though, I knew that regardless of who had made the decision, we ended up in Kingston for my benefit. I was ashamed that, while I saw myself as genuinely compassionate, I had been oblivious to the heartache of the person closest to me. I could no longer ignore it – and I didn’t want to.

We stayed up half the night talking, and the conversation took an unexpected turn. Max opened up and shared that it wasn’t just about the move. He told me how challenging school had always been for him, due to his dyslexia, and that the ever-present comparison to me had only deepened his pain.

We had been in parallel battles the whole time and, yet, I only saw that Max was in distress once he experienced problems with which I directly identified. I’d long thought Max had it so easy – all because he had friends. The truth was, he didn’t need to experience my personal brand of sorrow in order for me to relate – he had felt plenty of his own.

My failure to recognize Max’s suffering brought home for me the profound universality and diversity of personal struggle; everyone has insecurities, everyone has woes, and everyone – most certainly – has pain. I am acutely grateful for the conversations he and I shared around all of this, because I believe our relationship has been fundamentally strengthened by a deeper understanding of one another. Further, this experience has reinforced the value of constantly striving for deeper sensitivity to the hidden struggles of those around me. I won’t make the mistake again of assuming that the surface of someone’s life reflects their underlying story.

Here you can find a prime example that you don’t have to have fabulous imagery or flowery prose to write a successful essay. You just have to be clear and say something that matters. This essay is simple and beautiful. It almost feels like having a conversation with a friend and learning that they are an even better person than you already thought they were.

Through this narrative, readers learn a lot about the writer—where they’re from, what their family life is like, what their challenges were as a kid, and even their sexuality. We also learn a lot about their values—notably, the value they place on awareness, improvement, and consideration of others. Though they never explicitly state it (which is great because it is still crystal clear!), this student’s ending of “I won’t make the mistake again of assuming that the surface of someone’s life reflects their underlying story” shows that they are constantly striving for improvement and finding lessons anywhere they can get them in life.

Community Service/Impact on the Community

Colleges want students who will positively impact the campus community and go on to make change in the world after they graduate. This essay is similar to the Extracurricular Essay, but you need to focus on a situation where you impacted others. 

Learn more about how to write the Community Service Essay in our guide.

Academic Signing Day

Prompt: What have you done to make your school or your community a better place?

The scent of eucalyptus caressed my nose in a gentle breeze. Spring had arrived. Senior class activities were here. As a sophomore, I noticed a difference between athletic and academic seniors at my high school; one received recognition while the other received silence. I wanted to create an event celebrating students academically-committed to four-years, community colleges, trades schools, and military programs. This event was Academic Signing Day.

The leadership label, “Events Coordinator,” felt heavy on my introverted mind. I usually was setting up for rallies and spirit weeks, being overlooked around the exuberant nature of my peers. 

I knew a change of mind was needed; I designed flyers, painted posters, presented powerpoints, created student-led committees, and practiced countless hours for my introductory speech. Each committee would play a vital role on event day: one dedicated to refreshments, another to technology, and one for decorations. The fourth-month planning was a laborious joy, but I was still fearful of being in the spotlight. Being acknowledged by hundreds of people was new to me.     

The day was here. Parents filled the stands of the multi-purpose room. The atmosphere was tense; I could feel the angst building in my throat, worried about the impression I would leave. Applause followed each of the 400 students as they walked to their college table, indicating my time to speak. 

I walked up to the stand, hands clammy, expression tranquil, my words echoing to the audience. I thought my speech would be met by the sounds of crickets; instead, smiles lit up the stands, realizing my voice shone through my actions. I was finally coming out of my shell. The floor was met by confetti as I was met by the sincerity of staff, students, and parents, solidifying the event for years to come. 

Academic students were no longer overshadowed. Their accomplishments were equally recognized to their athletic counterparts. The school culture of athletics over academics was no longer imbalanced. Now, every time I smell eucalyptus, it is a friendly reminder that on Academic Signing Day, not only were academic students in the spotlight but so was my voice.

This essay answers the prompt nicely because the student describes a contribution with a lasting legacy. Academic Signing Day will affect this high school in the future and it affected this student’s self-development—an idea summed up nicely with their last phrase “not only were academic students in the spotlight but so was my voice.”

With Community Service essays, students sometimes take small contributions and stretch them. And, oftentimes, the stretch is very obvious. Here, the student shows us that Academic Signing Day actually mattered by mentioning four months of planning and hundreds of students and parents. They also make their involvement in Academic Signing Day clear—it was their idea and they were in charge, and that’s why they gave the introductory speech.

Use this response as an example of the type of focused contribution that makes for a convincing Community Service Essay.

Climate Change Rally

Prompt: What would you say is your greatest talent or skill? How have you developed and demonstrated that talent over time? (technically not community service, but the response works)

Let’s fast-forward time. Strides were made toward racial equality. Healthcare is accessible to all; however, one issue remains. Our aquatic ecosystems are parched with dead coral from ocean acidification. Climate change has prevailed.

Rewind to the present day.

My activism skills are how I express my concerns for the environment. Whether I play on sandy beaches or rest under forest treetops, nature offers me an escape from the haste of the world. When my body is met by trash in the ocean or my nose is met by harmful pollutants, Earth’s pain becomes my own. 

Substituting coffee grinds as fertilizer, using bamboo straws, starting my sustainable garden, my individual actions needed to reach a larger scale. I often found performative activism to be ineffective when communicating climate concerns. My days of reposting awareness graphics on social media never filled the ambition I had left to put my activism skills to greater use. I decided to share my ecocentric worldview with a coalition of environmentalists and host a climate change rally outside my high school.

Meetings were scheduled where I informed students about the unseen impact they have on the oceans and local habitual communities. My fingers were cramped from all the constant typing and investigating of micro causes of the Pacific Waste Patch, creating reusable flyers, displaying steps people could take from home in reducing their carbon footprint. I aided my fellow environmentalists in translating these flyers into other languages, repeating this process hourly, for five days, up until rally day.  

It was 7:00 AM. The faces of 100 students were shouting, “The climate is changing, why can’t we?” I proudly walked on the dewy grass, grabbing the microphone, repeating those same words. The rally not only taught me efficient methods of communication but it echoed my environmental activism to the masses. The City of Corona would be the first of many cities to see my activism, as more rallies were planned for various parts of SoCal. My once unfulfilled ambition was fueled by my tangible activism, understanding that it takes more than one person to make an environmental impact.

Like with the last example, this student describes a focused event with a lasting legacy. That’s a perfect place to start! By the end of this essay, we have an image of the cause of this student’s passion and the effect of this student’s passion. There are no unanswered questions.

This student supplements their focused topic with engaging and exciting writing to make for an easy-to-read and enjoyable essay. One of the largest strengths of this response is its pace. From the very beginning, we are invited to “fast-forward” and “rewind” with the writer. Then, after we center ourselves in real-time, this writer keeps their quick pace with sentences like “Substituting coffee grounds as fertilizer, using bamboo straws, starting my sustainable garden, my individual actions needed to reach a larger scale.” Community Service essays run the risk of turning boring, but this unique pacing keeps things interesting.

Having a diverse class provides a richness of different perspectives and encourages open-mindedness among the student body. The Diversity Essay is also somewhat similar to the Extracurricular and Community Service Essays, but it focuses more on what you might bring to the campus community because of your unique experiences or identities.

Learn more about how to write the Diversity Essay in our guide.

A Story of a Young Skater

​​“Everyone follow me!” I smiled at five wide-eyed skaters before pushing off into a spiral. I glanced behind me hopefully, only to see my students standing frozen like statues, the fear in their eyes as clear as the ice they swayed on. “Come on!” I said encouragingly, but the only response I elicited was the slow shake of their heads. My first day as a Learn-to-Skate coach was not going as planned. 

But amid my frustration, I was struck by how much my students reminded me of myself as a young skater. At seven, I had been fascinated by Olympic performers who executed thrilling high jumps and dizzying spins with apparent ease, and I dreamed to one day do the same. My first few months on skates, however, sent these hopes crashing down: my attempts at slaloms and toe-loops were shadowed by a stubborn fear of falling, which even the helmet, elbow pads, and two pairs of mittens I had armed myself with couldn’t mitigate. Nonetheless, my coach remained unfailingly optimistic, motivating me through my worst spills and teaching me to find opportunities in failures. With his encouragement, I learned to push aside my fears and attack each jump with calm and confidence; it’s the hope that I can help others do the same that now inspires me to coach.

I remember the day a frustrated staff member directed Oliver, a particularly hesitant young skater, toward me, hoping that my patience and steady encouragement might help him improve. Having stood in Oliver’s skates not much earlier myself, I completely empathized with his worries but also saw within him the potential to overcome his fears and succeed. 

To alleviate his anxiety, I held Oliver’s hand as we inched around the rink, cheering him on at every turn. I soon found though, that this only increased his fear of gliding on his own, so I changed my approach, making lessons as exciting as possible in hopes that he would catch the skating bug and take off. In the weeks that followed, we held relay races, played “freeze-skate” and “ice-potato”, and raced through obstacle courses; gradually, with each slip and subsequent success, his fear began to abate. I watched Oliver’s eyes widen in excitement with every skill he learned, and not long after, he earned his first skating badge. Together we celebrated this milestone, his ecstasy fueling my excitement and his pride mirroring my own. At that moment, I was both teacher and student, his progress instilling in me the importance of patience and a positive attitude. 

It’s been more than ten years since I bundled up and stepped onto the ice for the first time. Since then, my tolerance for the cold has remained stubbornly low, but the rest of me has certainly changed. In sharing my passion for skating, I have found a wonderful community of eager athletes, loving parents, and dedicated coaches from whom I have learned invaluable lessons and wisdom. My fellow staffers have been with me, both as friends and colleagues, and the relationships I’ve formed have given me far more poise, confidence, and appreciation for others. Likewise, my relationships with parents have given me an even greater gratitude for the role they play: no one goes to the rink without a parent behind the wheel! 

Since that first lesson, I have mentored dozens of children, and over the years, witnessed tentative steps transform into powerful glides and tears give way to delighted grins. What I have shared with my students has been among the greatest joys of my life, something I will cherish forever. It’s funny: when I began skating, what pushed me through the early morning practices was the prospect of winning an Olympic medal. Now, what excites me is the chance to work with my students, to help them grow, and to give back to the sport that has brought me so much happiness. 

This response is a great example of how Diversity doesn’t have to mean race, gender, sexuality, ethnicity, age, or ability. Diversity can mean whatever you want it to mean—whatever unique experience(s) you have to bring to the table!

A major strength of this essay comes in its narrative organization. When reading this first paragraph, we feel for the young skaters and understand their fear—skating sounds scary! Then, because the writer sets us up to feel this empathy, the transition to the second paragraph where the student describes their empathy for the young skaters is particularly powerful. It’s like we are all in it together! The student’s empathy for the young skaters also serves as an outstanding, seamless transition to the applicant discussing their personal journey with skating: “I was struck by how much my students reminded me of myself as a young skater.”

This essay positions the applicant as a grounded and caring individual. They are caring towards the young skaters—changing their teaching style to try to help the young skaters and feeling the young skaters’ emotions with them—but they are also appreciative to those who helped them as they reference their fellow staffers and parents. This shows great maturity—a favorable quality in the eyes of an admissions officer.

At the end of the essay, we know a lot about this student and are convinced that they would be a good addition to a college campus!

Finding Community in the Rainforest

Prompt: Duke University seeks a talented, engaged student body that embodies the wide range of human experience; we believe that the diversity of our students makes our community stronger. If you’d like to share a perspective you bring or experiences you’ve had to help us understand you better—perhaps related to a community you belong to, your sexual orientation or gender identity, or your family or cultural background—we encourage you to do so. Real people are reading your application, and we want to do our best to understand and appreciate the real people applying to Duke (250 words).

I never understood the power of community until I left home to join seven strangers in the Ecuadorian rainforest. Although we flew in from distant corners of the U.S., we shared a common purpose: immersing ourselves in our passion for protecting the natural world.

Back home in my predominantly conservative suburb, my neighbors had brushed off environmental concerns. My classmates debated the feasibility of Trump’s wall, not the deteriorating state of our planet. Contrastingly, these seven strangers delighted in bird-watching, brightened at the mention of medicinal tree sap, and understood why I once ran across a four-lane highway to retrieve discarded beer cans. Their histories barely resembled mine, yet our values aligned intimately. We did not hesitate to joke about bullet ants, gush about the versatility of tree bark, or discuss the destructive consequences of materialism. Together, we let our inner tree huggers run free.

In the short life of our little community, we did what we thought was impossible. By feeding on each other’s infectious tenacity, we cultivated an atmosphere that deepened our commitment to our values and empowered us to speak out on behalf of the environment. After a week of stimulating conversations and introspective revelations about engaging people from our hometowns in environmental advocacy, we developed a shared determination to devote our lives to this cause.

As we shared a goodbye hug, my new friend whispered, “The world needs saving. Someone’s gotta do it.” For the first time, I believed that someone could be me.

This response is so wholesome and relatable. We all have things that we just need to geek out over and this student expresses the joy that came when they found a community where they could geek out about the environment. Passion is fundamental to university life and should find its way into successful applications.

Like the last response, this essay finds strength in the fact that readers feel for the student. We get a little bit of backstory about where they come from and how they felt silenced—“Back home in my predominantly conservative suburb, my neighbors had brushed off environmental concerns”—, so it’s easy to feel joy for them when they get set free.

This student displays clear values: community, ecoconsciousness, dedication, and compassion. An admissions officer who reads Diversity essays is looking for students with strong values and a desire to contribute to a university community—sounds like this student!  

Political/Global Issues

Colleges want to build engaged citizens, and the Political/Global Issues Essay allows them to better understand what you care about and whether your values align with theirs. In this essay, you’re most commonly asked to describe an issue, why you care about it, and what you’ve done or hope to do to address it. 

Learn more about how to write the Political/Global Issues Essay in our guide.

Note: this prompt is not a typical political/global issues essay, but the essay itself would be a strong response to a political/global issues prompt.

Fighting Violence Against Women

Prompt: Using a favorite quotation from an essay or book you have read in the last three years as a starting point, tell us about an event or experience that helped you define one of your values or changed how you approach the world. Please write the quotation, title and author at the beginning of your essay. (250-650 words)

“One of the great challenges of our time is that the disparities we face today have more complex causes and point less straightforwardly to solutions.” 

– Omar Wasow, assistant professor of politics, Princeton University. This quote is taken from Professor Wasow’s January 2014 speech at the Martin Luther King Day celebration at Princeton University. 

The air is crisp and cool, nipping at my ears as I walk under a curtain of darkness that drapes over the sky, starless. It is a Friday night in downtown Corpus Christi, a rare moment of peace in my home city filled with the laughter of strangers and colorful lights of street vendors. But I cannot focus. 

My feet stride quickly down the sidewalk, my hand grasps on to the pepper spray my parents gifted me for my sixteenth birthday. My eyes ignore the surrounding city life, focusing instead on a pair of tall figures walking in my direction. I mentally ask myself if they turned with me on the last street corner. I do not remember, so I pick up the pace again. All the while, my mind runs over stories of young women being assaulted, kidnapped, and raped on the street. I remember my mother’s voice reminding me to keep my chin up, back straight, eyes and ears alert. 

At a young age, I learned that harassment is a part of daily life for women. I fell victim to period-shaming when I was thirteen, received my first catcall when I was fourteen, and was nonconsensually grabbed by a man soliciting on the street when I was fifteen. For women, assault does not just happen to us— its gory details leave an imprint in our lives, infecting the way we perceive the world. And while movements such as the Women’s March and #MeToo have given victims of sexual violence a voice, harassment still manifests itself in the lives of millions of women across the nation. Symbolic gestures are important in spreading awareness but, upon learning that a surprising number of men are oblivious to the frequent harassment that women experience, I now realize that addressing this complex issue requires a deeper level of activism within our local communities. 

Frustrated with incessant cases of harassment against women, I understood at sixteen years old that change necessitates action. During my junior year, I became an intern with a judge whose campaign for office focused on a need for domestic violence reform. This experience enabled me to engage in constructive dialogue with middle and high school students on how to prevent domestic violence. As I listened to young men uneasily admit their ignorance and young women bravely share their experiences in an effort to spread awareness, I learned that breaking down systems of inequity requires changing an entire culture. I once believed that the problem of harassment would dissipate after politicians and celebrities denounce inappropriate behavior to their global audience. But today, I see that effecting large-scale change comes from the “small” lessons we teach at home and in schools. Concerning women’s empowerment, the effects of Hollywood activism do not trickle down enough. Activism must also trickle up and it depends on our willingness to fight complacency. 

Finding the solution to the long-lasting problem of violence against women is a work-in-progress, but it is a process that is persistently moving. In my life, for every uncomfortable conversation that I bridge, I make the world a bit more sensitive to the unspoken struggle that it is to be a woman. I am no longer passively waiting for others to let me live in a world where I can stand alone under the expanse of darkness on a city street, utterly alone and at peace. I, too, deserve the night sky.

As this student addresses an important social issue, she makes the reasons for her passion clear—personal experiences. Because she begins with an extended anecdote, readers are able to feel connected to the student and become invested in what she has to say.

Additionally, through her powerful ending—“I, too, deserve the night sky”—which connects back to her beginning— “as I walk under a curtain of darkness that drapes over the sky”—this student illustrates a mastery of language. Her engagement with other writing techniques that further her argument, like the emphasis on time—“gifted to me for my sixteenth birthday,” “when I was thirteen,” “when I was fourteen,” etc.—also illustrates her mastery of language.

While this student proves herself a good writer, she also positions herself as motivated and ambitious. She turns her passions into action and fights for them. That is just what admissions officers want to see in a Political/Global issues essay!

Where to Get Feedback on Your College Essays

Once you’ve written your college essays, you’ll want to get feedback on them. Since these essays are important to your chances of acceptance, you should prepare to go through several rounds of edits. 

Not sure who to ask for feedback? That’s why we created our free Peer Essay Review resource. You can get comments from another student going through the process and also edit other students’ essays to improve your own writing. 

If you want a college admissions expert to review your essay, advisors on CollegeVine have helped students refine their writing and submit successful applications to top schools.  Find the right advisor for you  to improve your chances of getting into your dream school!

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40 Best Essays of All Time (Including Links & Writing Tips)

I wanted to improve my writing skills. I thought that reading the forty best essays of all time would bring me closer to my goal.

I had little money (buying forty collections of essays was out of the question) so I’ve found them online instead. I’ve hacked through piles of them, and finally, I’ve found the great ones. Now I want to share the whole list with you (with the addition of my notes about writing). Each item on the list has a direct link to the essay, so please click away and indulge yourself. Also, next to each essay, there’s an image of the book that contains the original work.

About this essay list:

Reading essays is like indulging in candy; once you start, it’s hard to stop. I sought out essays that were not only well-crafted but also impactful. These pieces genuinely shifted my perspective. Whether you’re diving in for enjoyment or to hone your writing, these essays promise to leave an imprint. It’s fascinating how an essay can resonate with you, and even if details fade, its essence remains. I haven’t ranked them in any way; they’re all stellar. Skim through, explore the summaries, and pick up some writing tips along the way. For more essay gems, consider “Best American Essays” by Joyce Carol Oates or “101 Essays That Will Change The Way You Think” curated by Brianna Wiest.

40 Best Essays of All Time (With Links And Writing Tips)

1. david sedaris – laugh, kookaburra.

A great family drama takes place against the backdrop of the Australian wilderness. And the Kookaburra laughs… This is one of the top essays of the lot. It’s a great mixture of family reminiscences, travel writing, and advice on what’s most important in life. You’ll also learn an awful lot about the curious culture of the Aussies.

Writing tips from the essay:

• Use analogies (you can make it funny or dramatic to achieve a better effect): “Don’t be afraid,” the waiter said, and he talked to the kookaburra in a soothing, respectful voice, the way you might to a child with a switchblade in his hand”.
• You can touch a few cognate stories in one piece of writing . Reveal the layers gradually. Intertwine them and arrange for a grand finale where everything is finally clear.
• Be on the side of the reader. Become their friend and tell the story naturally, like around the dinner table.
• Use short, punchy sentences. Tell only as much as is required to make your point vivid.
• Conjure sentences that create actual feelings: “I had on a sweater and a jacket, but they weren’t quite enough, and I shivered as we walked toward the body, and saw that it was a . . . what, exactly?”
• You may ask a few tough questions in a row to provoke interest and let the reader think.

2. Charles D’Ambrosio – Documents

Do you think your life punches you in the face all too often? After reading this essay, you will change your mind. Reading about loss and hardships often makes us sad at first, but then enables us to feel grateful for our lives . D’Ambrosio shares his documents (poems, letters) that had a major impact on his life, and brilliantly shows how not to let go of the past.

• The most powerful stories are about your family and the childhood moments that shaped your life.
• You don’t need to build up tension and pussyfoot around the crux of the matter. Instead, surprise the reader by telling it like it is: “The poem was an allegory about his desire to leave our family.” Or: “My father had three sons. I’m the eldest; Danny, the youngest, killed himself sixteen years ago”.
• You can use real documents and quotes from your family and friends. It makes it so much more personal and relatable.
• Don’t cringe before the long sentence if you know it’s a strong one.
• At the end of the essay, you may come back to the first theme to close the circuit.
• Using slightly poetic language is acceptable, as long as it improves the story.

3. E. B. White – Once more to the lake

What does it mean to be a father? Can you see your younger self, reflected in your child? This beautiful essay tells the story of the author, his son, and their traditional stay at a placid lake hidden within the forests of Maine. This place of nature is filled with sunshine and childhood memories. It also provides for one of the greatest meditations on nature and the passing of time.

• Use sophisticated language, but not at the expense of readability.
• Use vivid language to trigger the mirror neurons in the reader’s brain: “I took along my son, who had never had any fresh water up his nose and who had seen lily pads only from train windows”.
• It’s important to mention universal feelings that are rarely talked about (it helps to create a bond between two minds): “You remember one thing, and that suddenly reminds you of another thing. I guess I remembered clearest of all the early mornings when the lake was cool and motionless”.
• Animate the inanimate: “this constant and trustworthy body of water”.
• Mentioning tales of yore is a good way to add some mystery and timelessness to your piece.
• Using double, or even triple “and” in one sentence is fine. It can make the sentence sing.

4. Zadie Smith – Fail Better

Aspiring writers feel tremendous pressure to perform. The daily quota of words often turns out to be nothing more than gibberish. What then? Also, should the writer please the reader or should she be fully independent? What does it mean to be a writer, anyway? This essay is an attempt to answer these questions, but its contents are not only meant for scribblers. Within it, you’ll find some great notes about literary criticism, how we treat art , and the responsibility of the reader.

• A perfect novel ? There’s no such thing.
• The novel always reflects the inner world of the writer. That’s why we’re fascinated with writers.
• Writing is not simply about craftsmanship, but about taking your reader to the unknown lands. In the words of Christopher Hitchens: “Your ideal authors ought to pull you from the foundering of your previous existence, not smilingly guide you into a friendly and peaceable harbor.”
• Style comes from your unique personality and the perception of the world. It takes time to develop it.
• Never try to tell it all. “All” can never be put into language. Take a part of it and tell it the best you can.
• Avoid being cliché. Try to infuse new life into your writing .
• Writing is about your way of being. It’s your game. Paradoxically, if you try to please everyone, your writing will become less appealing. You’ll lose the interest of the readers. This rule doesn’t apply in the business world where you have to write for a specific person (a target audience).
• As a reader, you have responsibilities too. According to the critics, every thirty years, there’s just a handful of great novels. Maybe it’s true. But there’s also an element of personal connection between the reader and the writer. That’s why for one person a novel is a marvel, while for the other, nothing special at all. That’s why you have to search and find the author who will touch you.

5. Virginia Woolf – Death of the Moth

Amid an ordinary day, sitting in a room of her own, Virginia Woolf tells about the epic struggle for survival and the evanescence of life. This short essay is truly powerful. In the beginning, the atmosphere is happy. Life is in full force. And then, suddenly, it fades away. This sense of melancholy would mark the last years of Woolf’s life.

• The melody of language… A good sentence is like music: “Moths that fly by day are not properly to be called moths; they do not excite that pleasant sense of dark autumn nights and ivy-blossom which the commonest yellow- underwing asleep in the shadow of the curtain never fails to rouse in us”.
• You can show the grandest in the mundane (for example, the moth at your window and the drama of life and death).
• Using simple comparisons makes the style more lucid: “Being intent on other matters I watched these futile attempts for a time without thinking, unconsciously waiting for him to resume his flight, as one waits for a machine, that has stopped momentarily, to start again without considering the reason of its failure”.

6. Meghan Daum – My Misspent Youth

Many of us, at some point or another, dream about living in New York. Meghan Daum’s take on the subject differs slightly from what you might expect. There’s no glamour, no Broadway shows, and no fancy restaurants. Instead, there’s the sullen reality of living in one of the most expensive cities in the world. You’ll get all the juicy details about credit cards, overdue payments, and scrambling for survival. It’s a word of warning. But it’s also a great story about shattered fantasies of living in a big city. Word on the street is: “You ain’t promised mañana in the rotten manzana.”

• You can paint a picture of your former self. What did that person believe in? What kind of world did he or she live in?
• “The day that turned your life around” is a good theme you may use in a story. Memories of a special day are filled with emotions. Strong emotions often breed strong writing.
• Use cultural references and relevant slang to create a context for your story.
• You can tell all the details of the story, even if in some people’s eyes you’ll look like the dumbest motherfucker that ever lived. It adds to the originality.
• Say it in a new way: “In this mindset, the dollars spent, like the mechanics of a machine no one bothers to understand, become an abstraction, an intangible avenue toward self-expression, a mere vehicle of style”.
• You can mix your personal story with the zeitgeist or the ethos of the time.

7. Roger Ebert – Go Gentle Into That Good Night

Probably the greatest film critic of all time, Roger Ebert, tells us not to rage against the dying of the light. This essay is full of courage, erudition, and humanism. From it, we learn about what it means to be dying (Hitchens’ “Mortality” is another great work on that theme). But there’s so much more. It’s a great celebration of life too. It’s about not giving up, and sticking to your principles until the very end. It brings to mind the famous scene from Dead Poets Society where John Keating (Robin Williams) tells his students: “Carpe, carpe diem, seize the day boys, make your lives extraordinary”.

• Start with a powerful sentence: “I know it is coming, and I do not fear it, because I believe there is nothing on the other side of death to fear.”
• Use quotes to prove your point -”‘Ask someone how they feel about death’, he said, ‘and they’ll tell you everyone’s gonna die’. Ask them, ‘In the next 30 seconds?’ No, no, no, that’s not gonna happen”.
• Admit the basic truths about reality in a childlike way (especially after pondering quantum physics) – “I believe my wristwatch exists, and even when I am unconscious, it is ticking all the same. You have to start somewhere”.
• Let other thinkers prove your point. Use quotes and ideas from your favorite authors and friends.

8. George Orwell – Shooting an Elephant

Even after one reading, you’ll remember this one for years. The story, set in British Burma, is about shooting an elephant (it’s not for the squeamish). It’s also the most powerful denunciation of colonialism ever put into writing. Orwell, apparently a free representative of British rule, feels to be nothing more than a puppet succumbing to the whim of the mob.

• The first sentence is the most important one: “In Moulmein, in Lower Burma, I was hated by large numbers of people — the only time in my life that I have been important enough for this to happen to me”.
• You can use just the first paragraph to set the stage for the whole piece of prose.
• Use beautiful language that stirs the imagination: “I remember that it was a cloudy, stuffy morning at the beginning of the rains.” Or: “I watched him beating his bunch of grass against his knees, with that preoccupied grandmotherly air that elephants have.”
• If you’ve ever been to war, you will have a story to tell: “(Never tell me, by the way, that the dead look peaceful. Most of the corpses I have seen looked devilish.)”
• Use simple words, and admit the sad truth only you can perceive: “They did not like me, but with the magical rifle in my hands I was momentarily worth watching”.
• Share words of wisdom to add texture to the writing: “I perceived at this moment that when the white man turns tyrant it is his freedom that he destroys.”
• I highly recommend reading everything written by Orwell, especially if you’re looking for the best essay collections on Amazon or Goodreads.

9. George Orwell – A Hanging

It’s just another day in Burma – time to hang a man. Without much ado, Orwell recounts the grim reality of taking another person’s life. A man is taken from his cage and in a few minutes, he’s going to be hanged. The most horrible thing is the normality of it. It’s a powerful story about human nature. Also, there’s an extraordinary incident with the dog, but I won’t get ahead of myself.

• Create brilliant, yet short descriptions of characters: “He was a Hindu, a puny wisp of a man, with a shaven head and vague liquid eyes. He had a thick, sprouting mustache, absurdly too big for his body, rather like the mustache of a comic man on the films”.
• Understand and share the felt presence of a unique experience: “It is curious, but till that moment I had never realized what it means to destroy a healthy, conscious man”.
• Make your readers hear the sound that will stay with them forever: “And then when the noose was fixed, the prisoner began crying out on his god. It was a high, reiterated cry of “Ram! Ram! Ram! Ram!”
• Make the ending original by refusing the tendency to seek closure or summing it up.

10. Christopher Hitchens – Assassins of The Mind

In one of the greatest essays written in defense of free speech, Christopher Hitchens shares many examples of how modern media kneel to the explicit threats of violence posed by Islamic extremists. He recounts the story of his friend, Salman Rushdie, author of Satanic Verses who, for many years, had to watch over his shoulder because of the fatwa of Ayatollah Khomeini. With his usual wit, Hitchens shares various examples of people who died because of their opinions and of editors who refuse to publish anything related to Islam because of fear (and it was written long before the Charlie Hebdo massacre). After reading the essay, you realize that freedom of expression is one of the most precious things we have and that we have to fight for it. I highly recommend all essay collections penned by Hitchens, especially the ones written for Vanity Fair.

• Assume that the readers will know the cultural references. When they do, their self-esteem goes up – they are a part of an insider group.
• When proving your point, give a variety of real-life examples from eclectic sources. Leave no room for ambiguity or vagueness. Research and overall knowledge are essential here.
• Use italics to emphasize a specific word or phrase (here I use the underlining): “We live now in a climate where every publisher and editor and politician has to weigh in advance the possibility of violent Muslim reprisal. In consequence, several things have not happened.”
• Think about how to make it sound more original: “So there is now a hidden partner in our cultural and academic and publishing and the broadcasting world: a shadowy figure that has, uninvited, drawn up a chair to the table.”

11. Christopher Hitchens – The New Commandments

It’s high time to shatter the tablets and amend the biblical rules of conduct. Watch, as Christopher Hitchens slays one commandment after the other on moral, as well as historical grounds. For example, did you know that there are many versions of the divine law dictated by God to Moses which you can find in the Bible? Aren’t we thus empowered to write our version of a proper moral code? If you approach it with an open mind, this essay may change the way you think about the Bible and religion.

• Take the iconoclastic approach. Have a party on the hallowed soil.
• Use humor to undermine orthodox ideas (it seems to be the best way to deal with an established authority).
• Use sarcasm and irony when appropriate (or not): “Nobody is opposed to a day of rest. The international Communist movement got its start by proclaiming a strike for an eight-hour day on May 1, 1886, against Christian employers who used child labor seven days a week”.
• Defeat God on legal grounds: “Wise lawmakers know that it is a mistake to promulgate legislation that is impossible to obey”.
• Be ruthless in the logic of your argument. Provide evidence.

12. Phillip Lopate – Against Joie de Vivre

While reading this fantastic essay, this quote from Slavoj Žižek kept coming back to me: “I think that the only life of deep satisfaction is a life of eternal struggle, especially struggle with oneself. If you want to remain happy, just remain stupid. Authentic masters are never happy; happiness is a category of slaves”. I can bear the onus of happiness or joie de vivre for some time. But this force enables me to get free and wallow in the sweet feelings of melancholy and nostalgia. By reading this work of Lopate, you’ll enter into the world of an intelligent man who finds most social rituals a drag. It’s worth exploring.

• Go against the grain. Be flamboyant and controversial (if you can handle it).
• Treat the paragraph like a group of thoughts on one theme. Next paragraph, next theme.
• Use references to other artists to set the context and enrich the prose: “These sunny little canvases with their talented innocence, the third-generation spirit of Montmartre, bore testimony to a love of life so unbending as to leave an impression of rigid narrow-mindedness as extreme as any Savonarola. Their rejection of sorrow was total”.
• Capture the emotions in life that are universal, yet remain unspoken.
• Don’t be afraid to share your intimate experiences.

13. Philip Larkin – The Pleasure Principle

This piece comes from the Required Writing collection of personal essays. Larkin argues that reading in verse should be a source of intimate pleasure – not a medley of unintelligible thoughts that only the author can (or can’t?) decipher. It’s a sobering take on modern poetry and a great call to action for all those involved in it. Well worth a read.

• Write about complicated ideas (such as poetry) simply. You can change how people look at things if you express yourself enough.
• Go boldly. The reader wants a bold writer: “We seem to be producing a new kind of bad poetry, not the old kind that tries to move the reader and fails, but one that does not even try”.
• Play with words and sentence length. Create music: “It is time some of you playboys realized, says the judge, that reading a poem is hard work. Fourteen days in stir. Next case”.
• Persuade the reader to take action. Here, direct language is the most effective.

14. Sigmund Freud – Thoughts for the Times on War and Death

This essay reveals Freud’s disillusionment with the whole project of Western civilization. How the peaceful European countries could engage in a war that would eventually cost over 17 million lives? What stirs people to kill each other? Is it their nature, or are they puppets of imperial forces with agendas of their own? From the perspective of time, this work by Freud doesn’t seem to be fully accurate. Even so, it’s well worth your time.

• Commence with long words derived from Latin. Get grandiloquent, make your argument incontrovertible, and leave your audience discombobulated.
• Use unending sentences, so that the reader feels confused, yet impressed.
• Say it well: “In this way, he enjoyed the blue sea and the grey; the beauty of snow-covered mountains and green meadowlands; the magic of northern forests and the splendor of southern vegetation; the mood evoked by landscapes that recall great historical events, and the silence of untouched nature”.
• Human nature is a subject that never gets dry.

15. Zadie Smith – Some Notes on Attunement

“You are privy to a great becoming, but you recognize nothing” – Francis Dolarhyde. This one is about the elusiveness of change occurring within you. For Zadie, it was hard to attune to the vibes of Joni Mitchell – especially her Blue album. But eventually, she grew up to appreciate her genius, and all the other things changed as well. This top essay is all about the relationship between humans, and art. We shouldn’t like art because we’re supposed to. We should like it because it has an instantaneous, emotional effect on us. Although, according to Stansfield (Gary Oldman) in Léon, liking Beethoven is rather mandatory.

• Build an expectation of what’s coming: “The first time I heard her I didn’t hear her at all”.
• Don’t be afraid of repetition if it feels good.
• Psychedelic drugs let you appreciate things you never appreciated.
• Intertwine a personal journey with philosophical musings.
• Show rather than tell: “My friends pitied their eyes. The same look the faithful give you as you hand them back their “literature” and close the door in their faces”.
• Let the poets speak for you: “That time is past, / And all its aching joys are now no
• more, / And all its dizzy raptures”.
• By voicing your anxieties, you can heal the anxieties of the reader. In that way, you say: “I’m just like you. I’m your friend in this struggle”.
• Admit your flaws to make your persona more relatable.

16. Annie Dillard – Total Eclipse

My imagination was always stirred by the scene of the solar eclipse in Pharaoh, by Boleslaw Prus. I wondered about the shock of the disoriented crowd when they saw how their ruler could switch off the light. Getting immersed in this essay by Annie Dillard has a similar effect. It produces amazement and some kind of primeval fear. It’s not only the environment that changes; it’s your mind and the perception of the world. After the eclipse, nothing is going to be the same again.

• Yet again, the power of the first sentence draws you in: “It had been like dying, that sliding down the mountain pass”.
• Don’t miss the extraordinary scene. Then describe it: “Up in the sky, like a crater from some distant cataclysm, was a hollow ring”.
• Use colloquial language. Write as you talk. Short sentences often win.
• Contrast the numinous with the mundane to enthrall the reader.

17. Édouard Levé – When I Look at a Strawberry, I Think of a Tongue

This suicidally beautiful essay will teach you a lot about the appreciation of life and the struggle with mental illness. It’s a collection of personal, apparently unrelated thoughts that show us the rich interior of the author. You look at the real-time thoughts of another person, and then recognize the same patterns within yourself… It sounds like a confession of a person who’s about to take their life, and it’s striking in its originality.

• Use the stream-of-consciousness technique and put random thoughts on paper. Then, polish them: “I have attempted suicide once, I’ve been tempted four times to attempt it”.
• Place the treasure deep within the story: “When I look at a strawberry, I think of a tongue, when I lick one, of a kiss”.
• Don’t worry about what people might think. The more you expose, the more powerful the writing. Readers also take part in the great drama. They experience universal emotions that mostly stay inside.  You can translate them into writing.

18. Gloria E. Anzaldúa – How to Tame a Wild Tongue

Anzaldúa, who was born in south Texas, had to struggle to find her true identity. She was American, but her culture was grounded in Mexico. In this way, she and her people were not fully respected in either of the countries. This essay is an account of her journey of becoming the ambassador of the Chicano (Mexican-American) culture. It’s full of anecdotes, interesting references, and different shades of Spanish. It’s a window into a new cultural dimension that you’ve never experienced before.

• If your mother tongue is not English, but you write in English, use some of your unique homeland vocabulary.
• You come from a rich cultural heritage. You can share it with people who never heard about it, and are not even looking for it, but it is of immense value to them when they discover it.
• Never forget about your identity. It is precious. It is a part of who you are. Even if you migrate, try to preserve it. Use it to your best advantage and become the voice of other people in the same situation.
• Tell them what’s really on your mind: “So if you want to hurt me, talk badly about my language. Ethnic identity is twin skin to linguistic identity – I am my language”.

19. Kurt Vonnegut – Dispatch From A Man Without a Country

In terms of style, this essay is flawless. It’s simple, conversational, humorous, and yet, full of wisdom. And when Vonnegut becomes a teacher and draws an axis of “beginning – end”, and, “good fortune – bad fortune” to explain literature, it becomes outright hilarious. It’s hard to find an author with such a down-to-earth approach. He doesn’t need to get intellectual to prove a point. And the point could be summed up by the quote from Great Expectations – “On the Rampage, Pip, and off the Rampage, Pip – such is Life!”

• Start with a curious question: “Do you know what a twerp is?”
• Surprise your readers with uncanny analogies: “I am from a family of artists. Here I am, making a living in the arts. It has not been a rebellion. It’s as though I had taken over the family Esso station.”
• Use your natural language without too many special effects. In time, the style will crystalize.
• An amusing lesson in writing from Mr. Vonnegut: “Here is a lesson in creative writing. First rule: Do not use semicolons. They are transvestite hermaphrodites representing absolutely nothing. All they do is show you’ve been to college”.
• You can put actual images or vignettes between the paragraphs to illustrate something.

20. Mary Ruefle – On Fear

Most psychologists and gurus agree that fear is the greatest enemy of success or any creative activity. It’s programmed into our minds to keep us away from imaginary harm. Mary Ruefle takes on this basic human emotion with flair. She explores fear from so many angles (especially in the world of poetry-writing) that at the end of this personal essay, you will look at it, dissect it, untangle it, and hopefully be able to say “f**k you” the next time your brain is trying to stop you.

• Research your subject thoroughly. Ask people, have interviews, get expert opinions, and gather as much information as possible. Then scavenge through the fields of data, and pull out the golden bits that will let your prose shine.
• Use powerful quotes to add color to your story: “The poet who embarks on the creation of the poem (as I know by experience), begins with the aimless sensation of a hunter about to embark on a night hunt through the remotest of forests. Unaccountable dread stirs in his heart”. – Lorca.
• Writing advice from the essay: “One of the fears a young writer has is not being able to write as well as he or she wants to, the fear of not being able to sound like X or Y, a favorite author. But out of fear, hopefully, is born a young writer’s voice”.

21. Susan Sontag – Against Interpretation

In this highly intellectual essay, Sontag fights for art and its interpretation. It’s a great lesson, especially for critics and interpreters who endlessly chew on works that simply defy interpretation. Why don’t we just leave the art alone? I always hated it when at school they asked me: “What did the author have in mind when he did X or Y?” Iēsous Pantocrator! Hell if I know! I will judge it through my subjective experience!

• Leave the art alone: “Today is such a time, when the project of interpretation is reactionary, stifling. Like the fumes of the automobile and heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities”.
• When you have something really important to say, style matters less.
• There’s no use in creating a second meaning or inviting interpretation of our art. Just leave it be and let it speak for itself.

22. Nora Ephron – A Few Words About Breasts

This is a heartwarming, coming-of-age story about a young girl who waits in vain for her breasts to grow. It’s simply a humorous and pleasurable read. The size of breasts is a big deal for women. If you’re a man, you may peek into the mind of a woman and learn many interesting things. If you’re a woman, maybe you’ll be able to relate and at last, be at peace with your bosom.

• Touch an interesting subject and establish a strong connection with the readers (in that case, women with small breasts). Let your personality shine through the written piece. If you are lighthearted, show it.
• Use hyphens to create an impression of real talk: “My house was full of apples and peaches and milk and homemade chocolate chip cookies – which were nice, and good for you, but-not-right-before-dinner-or-you’ll-spoil-your-appetite.”
• Use present tense when you tell a story to add more life to it.
• Share the pronounced, memorable traits of characters: “A previous girlfriend named Solange, who was famous throughout Beverly Hills High School for having no pigment in her right eyebrow, had knitted them for him (angora dice)”.

23. Carl Sagan – Does Truth Matter – Science, Pseudoscience, and Civilization

Carl Sagan was one of the greatest proponents of skepticism, and an author of numerous books, including one of my all-time favorites – The Demon-Haunted World . He was also a renowned physicist and the host of the fantastic Cosmos: A Personal Voyage series, which inspired a whole generation to uncover the mysteries of the cosmos. He was also a dedicated weed smoker – clearly ahead of his time. The essay that you’re about to read is a crystallization of his views about true science, and why you should check the evidence before believing in UFOs or similar sorts of crap.

• Tell people the brutal truth they need to hear. Be the one who spells it out for them.
• Give a multitude of examples to prove your point. Giving hard facts helps to establish trust with the readers and show the veracity of your arguments.
• Recommend a good book that will change your reader’s minds – How We Know What Isn’t So: The Fallibility of Human Reason in Everyday Life

24. Paul Graham – How To Do What You Love

How To Do What You Love should be read by every college student and young adult. The Internet is flooded with a large number of articles and videos that are supposed to tell you what to do with your life. Most of them are worthless, but this one is different. It’s sincere, and there’s no hidden agenda behind it. There’s so much we take for granted – what we study, where we work, what we do in our free time… Surely we have another two hundred years to figure it out, right? Life’s too short to be so naïve. Please, read the essay and let it help you gain fulfillment from your work.

• Ask simple, yet thought-provoking questions (especially at the beginning of the paragraph) to engage the reader: “How much are you supposed to like what you do?”
• Let the readers question their basic assumptions: “Prestige is like a powerful magnet that warps even your beliefs about what you enjoy. It causes you to work not on what you like, but what you’d like to like”.
• If you’re writing for a younger audience, you can act as a mentor. It’s beneficial for younger people to read a few words of advice from a person with experience.

25. John Jeremiah Sullivan – Mister Lytle

A young, aspiring writer is about to become a nurse of a fading writer – Mister Lytle (Andrew Nelson Lytle), and there will be trouble. This essay by Sullivan is probably my favorite one from the whole list. The amount of beautiful sentences it contains is just overwhelming. But that’s just a part of its charm. It also takes you to the Old South which has an incredible atmosphere. It’s grim and tawny but you want to stay there for a while.

• Short, distinct sentences are often the most powerful ones: “He had a deathbed, in other words. He didn’t go suddenly”.
• Stay consistent with the mood of the story. When reading Mister Lytle you are immersed in that southern, forsaken, gloomy world, and it’s a pleasure.
• The spectacular language that captures it all: “His French was superb, but his accent in English was best—that extinct mid-Southern, land-grant pioneer speech, with its tinges of the abandoned Celtic urban Northeast (“boned” for burned) and its raw gentility”.
• This essay is just too good. You have to read it.

26. Joan Didion – On Self Respect

Normally, with that title, you would expect some straightforward advice about how to improve your character and get on with your goddamn life – but not from Joan Didion. From the very beginning, you can feel the depth of her thinking, and the unmistakable style of a true woman who’s been hurt. You can learn more from this essay than from whole books about self-improvement . It reminds me of the scene from True Detective, where Frank Semyon tells Ray Velcoro to “own it” after he realizes he killed the wrong man all these years ago. I guess we all have to “own it”, recognize our mistakes, and move forward sometimes.

• Share your moral advice: “Character — the willingness to accept responsibility for one’s own life — is the source from which self-respect springs”.
• It’s worth exploring the subject further from a different angle. It doesn’t matter how many people have already written on self-respect or self-reliance – you can still write passionately about it.
• Whatever happens, you must take responsibility for it. Brave the storms of discontent.

27. Susan Sontag – Notes on Camp

I’ve never read anything so thorough and lucid about an artistic current. After reading this essay, you will know what camp is. But not only that – you will learn about so many artists you’ve never heard of. You will follow their traces and go to places where you’ve never been before. You will vastly increase your appreciation of art. It’s interesting how something written as a list could be so amazing. All the listicles we usually see on the web simply cannot compare with it.

• Talking about artistic sensibilities is a tough job. When you read the essay, you will see how much research, thought and raw intellect came into it. But that’s one of the reasons why people still read it today, even though it was written in 1964.
• You can choose an unorthodox way of expression in the medium for which you produce. For example, Notes on Camp is a listicle – one of the most popular content formats on the web. But in the olden days, it was uncommon to see it in print form.
• Just think about what is camp: “And third among the great creative sensibilities is Camp: the sensibility of failed seriousness, of the theatricalization of experience. Camp refuses both the harmonies of traditional seriousness and the risks of fully identifying with extreme states of feeling”.

28. Ralph Waldo Emerson – Self-Reliance

That’s the oldest one from the lot. Written in 1841, it still inspires generations of people. It will let you understand what it means to be self-made. It contains some of the most memorable quotes of all time. I don’t know why, but this one especially touched me: “Every true man is a cause, a country, and an age; requires infinite spaces and numbers and time fully to accomplish his design, and posterity seems to follow his steps as a train of clients”. Now isn’t it purely individualistic, American thought? Emerson told me (and he will tell you) to do something amazing with my life. The language it contains is a bit archaic, but that just adds to the weight of the argument. You can consider it to be a meeting with a great philosopher who shaped the ethos of the modern United States.

• You can start with a powerful poem that will set the stage for your work.
• Be free in your creative flow. Do not wait for the approval of others: “What I must do is all that concerns me, not what the people think. This rule, equally arduous in actual and in intellectual life, may serve for the whole distinction between greatness and meanness”.
• Use rhetorical questions to strengthen your argument: “I hear a preacher announce for his text and topic the expediency of one of the institutions of his church. Do I not know beforehand that not possibly say a new and spontaneous word?”

29. David Foster Wallace – Consider The Lobster

When you want simple field notes about a food festival, you needn’t send there the formidable David Foster Wallace. He sees right through the hypocrisy and cruelty behind killing hundreds of thousands of innocent lobsters – by boiling them alive. This essay uncovers some of the worst traits of modern American people. There are no apologies or hedging one’s bets. There’s just plain truth that stabs you in the eye like a lobster claw. After reading this essay, you may reconsider the whole animal-eating business.

• When it’s important, say it plainly and stagger the reader: “[Lobsters] survive right up until they’re boiled. Most of us have been in supermarkets or restaurants that feature tanks of live lobster, from which you can pick out your supper while it watches you point”.
• In your writing, put exact quotes of the people you’ve been interviewing (including slang and grammatical errors). It makes it more vivid, and interesting.
• You can use humor in serious situations to make your story grotesque.
• Use captions to expound on interesting points of your essay.

30. David Foster Wallace – The Nature of the Fun

The famous novelist and author of the most powerful commencement speech ever done is going to tell you about the joys and sorrows of writing a work of fiction. It’s like taking care of a mutant child that constantly oozes smelly liquids. But you love that child and you want others to love it too. It’s a very humorous account of what it means to be an author. If you ever plan to write a novel, you should read that one. And the story about the Chinese farmer is just priceless.

• Base your point on a chimerical analogy. Here, the writer’s unfinished work is a “hideously damaged infant”.
• Even in expository writing, you may share an interesting story to keep things lively.
• Share your true emotions (even when you think they won’t interest anyone). Often, that’s exactly what will interest the reader.
• Read the whole essay for marvelous advice on writing fiction.

31. Margaret Atwood – Attitude

This is not an essay per se, but I included it on the list for the sake of variety. It was delivered as a commencement speech at The University of Toronto, and it’s about keeping the right attitude. Soon after leaving university, most graduates have to forget about safety, parties, and travel and start a new life – one filled with a painful routine that will last until they drop. Atwood says that you don’t have to accept that. You can choose how you react to everything that happens to you (and you don’t have to stay in that dead-end job for the rest of your days).

• At times, we are all too eager to persuade, but the strongest persuasion is not forceful. It’s subtle. It speaks to the heart. It affects you gradually.
• You may be tempted to talk about a subject by first stating what it is not, rather than what it is. Try to avoid that.
• Simple advice for writers (and life in general): “When faced with the inevitable, you always have a choice. You may not be able to alter reality, but you can alter your attitude towards it”.

32. Jo Ann Beard – The Fourth State of Matter

Read that one as soon as possible. It’s one of the most masterful and impactful essays you’ll ever read. It’s like a good horror – a slow build-up, and then your jaw drops to the ground. To summarize the story would be to spoil it, so I recommend that you just dig in and devour this essay in one sitting. It’s a perfect example of “show, don’t tell” writing, where the actions of characters are enough to create the right effect. No need for flowery adjectives here.

• The best story you will tell is going to come from your personal experience.
• Use mysteries that will nag the reader. For example, at the beginning of the essay, we learn about the “vanished husband” but there’s no explanation. We have to keep reading to get the answer.
• Explain it in simple terms: “You’ve got your solid, your liquid, your gas, and then your plasma”. Why complicate?

33. Terence McKenna – Tryptamine Hallucinogens and Consciousness

To me, Terence McKenna was one of the most interesting thinkers of the twentieth century. His many lectures (now available on YouTube) attracted millions of people who suspect that consciousness holds secrets yet to be unveiled. McKenna consumed psychedelic drugs for most of his life and it shows (in a positive way). Many people consider him a looney, and a hippie, but he was so much more than that. He dared to go into the abyss of his psyche and come back to tell the tale. He also wrote many books (the most famous being Food Of The Gods ), built a huge botanical garden in Hawaii , lived with shamans, and was a connoisseur of all things enigmatic and obscure. Take a look at this essay, and learn more about the explorations of the subconscious mind.

• Become the original thinker, but remember that it may require extraordinary measures: “I call myself an explorer rather than a scientist because the area that I’m looking at contains insufficient data to support even the dream of being a science”.
• Learn new words every day to make your thoughts lucid.
• Come up with the most outlandish ideas to push the envelope of what’s possible. Don’t take things for granted or become intellectually lazy. Question everything.

34. Eudora Welty – The Little Store

By reading this little-known essay, you will be transported into the world of the old American South. It’s a remembrance of trips to the little store in a little town. It’s warm and straightforward, and when you read it, you feel like a child once more. All these beautiful memories live inside of us. They lay somewhere deep in our minds, hidden from sight. The work by Eudora Welty is an attempt to uncover some of them and let you get reacquainted with some smells and tastes of the past.

• When you’re from the South, flaunt it. It’s still good old English but sometimes it sounds so foreign. I can hear the Southern accent too: “There were almost tangible smells – licorice recently sucked in a child’s cheek, dill-pickle brine that had leaked through a paper sack in a fresh trail across the wooden floor, ammonia-loaded ice that had been hoisted from wet Croker sacks and slammed into the icebox with its sweet butter at the door, and perhaps the smell of still-untrapped mice”.
• Yet again, never forget your roots.
• Childhood stories can be the most powerful ones. You can write about how they shaped you.

35. John McPhee – The Search for Marvin Gardens

The Search for Marvin Gardens contains many layers of meaning. It’s a story about a Monopoly championship, but also, it’s the author’s search for the lost streets visible on the board of the famous board game. It also presents a historical perspective on the rise and fall of civilizations, and on Atlantic City, which once was a lively place, and then, slowly declined, the streets filled with dirt and broken windows.

• There’s nothing like irony: “A sign- ‘Slow, Children at Play’- has been bent backward by an automobile”.
• Telling the story in apparently unrelated fragments is sometimes better than telling the whole thing in a logical order.
• Creativity is everything. The best writing may come just from connecting two ideas and mixing them to achieve a great effect. Shush! The muse is whispering.

36. Maxine Hong Kingston – No Name Woman

A dead body at the bottom of the well makes for a beautiful literary device. The first line of Orhan Pamuk’s novel My Name Is Red delivers it perfectly: “I am nothing but a corpse now, a body at the bottom of a well”. There’s something creepy about the idea of the well. Just think about the “It puts the lotion in the basket” scene from The Silence of the Lambs. In the first paragraph of Kingston’s essay, we learn about a suicide committed by uncommon means of jumping into the well. But this time it’s a real story. Who was this woman? Why did she do it? Read the essay.

• Mysterious death always gets attention. The macabre details are like daiquiris on a hot day – you savor them – you don’t let them spill.
• One sentence can speak volumes: “But the rare urge west had fixed upon our family, and so my aunt crossed boundaries not delineated in space”.
• It’s interesting to write about cultural differences – especially if you have the relevant experience. Something normal for us is unthinkable for others. Show this different world.
• The subject of sex is never boring.

37. Joan Didion – On Keeping A Notebook

Slouching Towards Bethlehem is one of the most famous collections of essays of all time. In it, you will find a curious piece called On Keeping A Notebook. It’s not only a meditation about keeping a journal. It’s also Didion’s reconciliation with her past self. After reading it, you will seriously reconsider your life’s choices and look at your life from a wider perspective.

• When you write things down in your journal, be more specific – unless you want to write a deep essay about it years later.
• Use the beauty of the language to relate to the past: “I have already lost touch with a couple of people I used to be; one of them, a seventeen-year-old, presents little threat, although it would be of some interest to me to know again what it feels like to sit on a river levee drinking vodka-and-orange-juice and listening to Les Paul and Mary Ford and their echoes sing ‘How High the Moon’ on the car radio”.
• Drop some brand names if you want to feel posh.

38. Joan Didion – Goodbye To All That

This one touched me because I also lived in New York City for a while. I don’t know why, but stories about life in NYC are so often full of charm and this eerie-melancholy-jazz feeling. They are powerful. They go like this: “There was a hard blizzard in NYC. As the sound of sirens faded, Tony descended into the dark world of hustlers and pimps.” That’s pulp literature but in the context of NYC, it always sounds cool. Anyway, this essay is amazing in too many ways. You just have to read it.

• Talk about New York City. They will read it.
• Talk about the human experience: “It did occur to me to call the desk and ask that the air conditioner be turned off, I never called, because I did not know how much to tip whoever might come—was anyone ever so young?”
• Look back at your life and reexamine it. Draw lessons from it.

39. George Orwell – Reflections on Gandhi

George Orwell could see things as they were. No exaggeration, no romanticism – just facts. He recognized totalitarianism and communism for what they were and shared his worries through books like 1984 and Animal Farm . He took the same sober approach when dealing with saints and sages. Today, we regard Gandhi as one of the greatest political leaders of the twentieth century – and rightfully so. But did you know that when asked about the Jews during World War II, Gandhi said that they should commit collective suicide and that it: “would have aroused the world and the people of Germany to Hitler’s violence.” He also recommended utter pacifism in 1942, during the Japanese invasion, even though he knew it would cost millions of lives. But overall he was a good guy. Read the essay and broaden your perspective on the Bapu of the Indian Nation.

• Share a philosophical thought that stops the reader for a moment: “No doubt alcohol, tobacco, and so forth are things that a saint must avoid, but sainthood is also a thing that human beings must avoid”.
• Be straightforward in your writing – no mannerisms, no attempts to create ‘style’, and no invocations of the numinous – unless you feel the mystical vibe.

40. George Orwell – Politics and the English Language

Let Mr. Orwell give you some writing tips. Written in 1946, this essay is still one of the most helpful documents on writing in English. Orwell was probably the first person who exposed the deliberate vagueness of political language. He was very serious about it and I admire his efforts to slay all unclear sentences (including ones written by distinguished professors). But it’s good to make it humorous too from time to time. My favorite examples of that would be the immortal Soft Language sketch by George Carlin or the “Romans Go Home” scene from Monty Python’s Life of Brian. Overall, it’s a great essay filled with examples from many written materials. It’s a must-read for any writer.

• Listen to the master: “This mixture of vagueness and sheer incompetence is the most marked characteristic of modern English prose.” Do something about it.
• This essay is all about writing better, so go to the source if you want the goodies.

Other Essays You May Find Interesting

The list that I’ve prepared is by no means complete. The literary world is full of exciting essays and you’ll never know which one is going to change your life. I’ve found reading essays very rewarding because sometimes, a single one means more than reading a whole book. It’s almost like wandering around and peeking into the minds of the greatest writers and thinkers that ever lived. To make this list more comprehensive, below I included more essays you may find interesting.

Oliver Sacks – On Libraries

One of the greatest contributors to the knowledge about the human mind, Oliver Sacks meditates on the value of libraries and his love of books.

Noam Chomsky – The Responsibility of Intellectuals

Chomsky did probably more than anyone else to define the role of the intelligentsia in the modern world . There is a war of ideas over there – good and bad – intellectuals are going to be those who ought to be fighting for the former.

Sam Harris – The Riddle of The Gun

Sam Harris, now a famous philosopher and neuroscientist, takes on the problem of gun control in the United States. His thoughts are clear of prejudice. After reading this, you’ll appreciate the value of logical discourse overheated, irrational debate that more often than not has real implications on policy.

Tim Ferriss – Some Practical Thoughts on Suicide

This piece was written as a blog post , but it’s worth your time. The author of the NYT bestseller The 4-Hour Workweek shares an emotional story about how he almost killed himself, and what can you do to save yourself or your friends from suicide.

Edward Said – Reflections on Exile

The life of Edward Said was a truly fascinating one. Born in Jerusalem, he lived between Palestine and Egypt and finally settled down in the United States, where he completed his most famous work – Orientalism. In this essay, he shares his thoughts about what it means to be in exile.

Richard Feynman – It’s as Simple as One, Two, Three…

Richard Feynman is one of the most interesting minds of the twentieth century. He was a brilliant physicist, but also an undeniably great communicator of science, an artist, and a traveler. By reading this essay, you can observe his thought process when he tries to figure out what affects our perception of time. It’s a truly fascinating read.

Rabindranath Tagore – The Religion of The Forest

I like to think about Tagore as my spiritual Friend. His poems are just marvelous. They are like some of the Persian verses that praise love, nature, and the unity of all things. By reading this short essay, you will learn a lot about Indian philosophy and its relation to its Western counterpart.

Richard Dawkins – Letter To His 10-Year-Old Daughter

Every father should be able to articulate his philosophy of life to his children. With this letter that’s similar to what you find in the Paris Review essays , the famed atheist and defender of reason, Richard Dawkins, does exactly that. It’s beautifully written and stresses the importance of looking at evidence when we’re trying to make sense of the world.

Albert Camus – The Minotaur (or, The Stop In Oran)

Each person requires a period of solitude – a period when one’s able to gather thoughts and make sense of life. There are many places where you may attempt to find quietude. Albert Camus tells about his favorite one.

Koty Neelis – 21 Incredible Life Lessons From Anthony Bourdain

I included it as the last one because it’s not really an essay, but I just had to put it somewhere. In this listicle, you’ll find the 21 most original thoughts of the high-profile cook, writer, and TV host, Anthony Bourdain. Some of them are shocking, others are funny, but they’re all worth checking out.

Lucius Annaeus Seneca – On the Shortness of Life

It’s similar to the Rubaiyat of Omar Khayyam because it praises life. Seneca shares some of his stoic philosophy and tells you not to waste your time on stupidities. Drink! – for once dead you shall never return.

Bertrand Russell – In Praise of Idleness

This old essay is a must-read for modern humans. We are so preoccupied with our work, our phones, and all the media input we drown in our business. Bertrand Russell tells you to chill out a bit – maybe it will do you some good.

James Baldwin – Stranger in the Village

It’s an essay on the author’s experiences as an African-American in a Swiss village, exploring race, identity, and alienation while highlighting the complexities of racial dynamics and the quest for belonging.

Bonus – More writing tips from two great books

The mission to improve my writing skills took me further than just going through the essays. I’ve come across some great books on writing too. I highly recommend you read them in their entirety. They’re written beautifully and contain lots of useful knowledge. Below you’ll find random (but useful) notes that I took from The Sense of Style and On Writing.

The Sense of Style – By Steven Pinker

• Style manuals are full of inconsistencies. Following their advice might not be the best idea. They might make your prose boring.
• Grammarians from all eras condemn students for not knowing grammar. But it just evolves. It cannot be rigid.
• “Nothing worth learning can be taught” – Oscar Wilde. It’s hard to learn to write from a manual – you have to read, write, and analyze.
• Good writing makes you imagine things and feel them for yourself – use word pictures.
• Don’t fear using voluptuous words.
• Phonesthetics – or how the words sound.
• Use parallel language (consistency of tense).
• Good writing finishes strong.
• Write to someone. Never write for no one in mind. Try to show people your view of the world.
• Don’t tell everything you are going to say in summary (signposting) – be logical, but be conversational.
• Don’t be pompous.
• Don’t use quotation marks where they don’t “belong”. Be confident about your style.
• Don’t hedge your claims (research first, and then tell it like it is).
• Avoid clichés and meta-concepts (concepts about concepts). Be more straightforward!
• Not prevention – but prevents or prevented – don’t use dead nouns.
• Be more vivid while using your mother tongue – don’t use passive where it’s not needed. Direct the reader’s gaze to something in the world.
• The curse of knowledge – the reader doesn’t know what you know – beware of that.
• Explain technical terms.
• Use examples when you explain a difficult term.
• If you ever say “I think I understand this” it probably means you don’t.
• It’s better to underestimate the lingo of your readers than to overestimate it.
• Functional fixedness – if we know some object (or idea) well, we tend to see it in terms of usage, not just as an object.
• Use concrete language instead of an abstraction.
• Show your work to people before you publish (get feedback!).
• Wait for a few days and then revise, revise, revise. Think about clarity and the sound of sentences. Then show it to someone. Then revise one more time. Then publish (if it’s to be serious work).
• Look at it from the perspective of other people.
• Omit needless words.
• Put the heaviest words at the end of the sentence.
• It’s good to use the passive, but only when appropriate.
• Check all text for cohesion. Make sure that the sentences flow gently.
• In expository work, go from general to more specific. But in journalism start from the big news and then give more details.
• Use the paragraph break to give the reader a moment to take a breath.
• Use the verb instead of a noun (make it more active) – not “cancellation”, but “canceled”. But after you introduce the action, you can refer to it with a noun.
• Avoid too many negations.
• If you write about why something is so, don’t spend too much time writing about why it is not.

On Writing Well – By William Zinsser

• Writing is a craft. You need to sit down every day and practice your craft.
• You should re-write and polish your prose a lot.
• Throw out all the clutter. Don’t keep it because you like it. Aim for readability.
• Look at the best examples of English literature . There’s hardly any needless garbage there.
• Use shorter expressions. Don’t add extra words that don’t bring any value to your work.
• Don’t use pompous language. Use simple language and say plainly what’s going on (“because” equals “because”).
• The media and politics are full of cluttered prose (because it helps them to cover up for their mistakes).
• You can’t add style to your work (and especially, don’t add fancy words to create an illusion of style). That will look fake. You need to develop a style.
• Write in the “I” mode. Write to a friend or just for yourself. Show your personality. There is a person behind the writing.
• Choose your words carefully. Use the dictionary to learn different shades of meaning.
• Remember about phonology. Make music with words .
• The lead is essential. Pull the reader in. Otherwise, your article is dead.
• You don’t have to make the final judgment on any topic. Just pick the right angle.
• Do your research. Not just obvious research, but a deep one.
• When it’s time to stop, stop. And finish strong. Think about the last sentence. Surprise them.
• Use quotations. Ask people. Get them talking.
• If you write about travel, it must be significant to the reader. Don’t bother with the obvious. Choose your words with special care. Avoid travel clichés at all costs. Don’t tell that the sand was white and there were rocks on the beach. Look for the right detail.
• If you want to learn how to write about art, travel, science, etc. – read the best examples available. Learn from the masters.
• Concentrate on one big idea (“Let’s not go peeing down both legs”).
• “The reader has to feel that the writer is feeling good.”
• One very helpful question: “What is the piece really about?” (Not just “What the piece is about?”)

Now immerse yourself in the world of essays

By reading the essays from the list above, you’ll become a better writer , a better reader, but also a better person. An essay is a special form of writing. It is the only literary form that I know of that is an absolute requirement for career or educational advancement. Nowadays, you can use an AI essay writer or an AI essay generator that will get the writing done for you, but if you have personal integrity and strong moral principles, avoid doing this at all costs. For me as a writer, the effect of these authors’ masterpieces is often deeply personal. You won’t be able to find the beautiful thoughts they contain in any other literary form. I hope you enjoy the read and that it will inspire you to do your writing. This list is only an attempt to share some of the best essays available online. Next up, you may want to check the list of magazines and websites that accept personal essays .

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Writing a memorable Professional Experience Essay

W hile your MBA application resume will provide a summary of your education, jobs, and community leadership, you will likely have an opportunity to expand on your career in your MBA essays.

However, an essay about your work experience is not merely a list of roles and responsibilities. A Professional Experience Essay is a narrative essay that should bring the accomplishments summarized on your resume to life.

An effective Professional Experience Essay will give the Admissions Committee a sense of the career decisions you’ve made, your most significant achievements in each chapter of your career, and the skills and knowledge you’ve acquired on your career journey. This “walk through your resume” in essay form is your opportunity to provide admissions officers with evidence that you’ve made exceptional career progress and that you have clear potential for future advancement.

This article provides you with the insights and tools you need to build a powerful Professional Experience Essay.

First, we’ll talk about why some MBA application forms ask you to write about your career history, and we’ll share the characteristics of a great answer to this type of essay question.

Second, we’ll provide you with a set of building blocks for crafting a unique and robust essay that summarizes your career history.

Finally, we analyze a sample Professional Experience Essay to illustrate the principles we have taught you throughout this article.

How to Score Top Marks on Professional Experience Essays

You can think of this essay as an executive summary of your career thus far. You are providing the readers in the MBA admissions office with a holistic overview of your work experience, the skills and knowledge you’ve acquired, and how you’ve progressed in your career thus far. So what is the Admissions Committee looking for in an effective Professional Experience Essay?

To score top marks with your essay, you’ll need to provide evidence of distinguished academic and career performance in the top 10% of your peer group and demonstrate your potential for future advancement.

A well-designed essay recounting your professional history accomplishes multiple aims in a minimal amount of space. Your career story must be coherent, concise, and cohesive – it’s not unusual to have to discuss your professional history in 200 words or less as part of a multi-part essay question. If you have a limited number of words to work with, what should you focus on and what should you leave out?

To solve that riddle, we recommend that before trying to draft this essay, you should first define your career goals . Clarity about where you want to go in your career will help you select which elements of your past work experience to showcase in this essay.

That is because a successful Professional Experience Essay will connect the dots between your professional history and your career aspirations. You want your essay to present evidence that you are well-prepared for the post-MBA job you plan to pursue. Demonstrate to the admissions committee you have momentum in the direction of your ultimate career goals.

Of course, you also want to highlight the work experiences and qualities that business schools value , such as leadership, teamwork, and creativity.

Additionally, you want to give the reader a sense that your value to your employers has grown over time. Your overarching goal is to convince the Admissions Committee that you are well-prepared for an MBA and that you have interesting experiences and lessons to contribute to an MBA community.

Finally, let’s not forget that admissions officers will be assessing your “employability” and how well your career story might play with future recruiters.

How can you accomplish all of those goals in a compact and engaging essay? Follow the steps in the next section to construct an effective Professional Experience Essay. To illustrate our guidance, we’ll show you how “Adam,” a private equity analyst applying for an MBA, constructed the content building blocks for his Professional Experience Essay.

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Telling the Story of Your Career

Like a book, your career story should be organized into chapters. Typically a chapter will begin with your decision to take a new job, proceed to the most significant challenges and achievements in that role, and end with a brief recounting of your learning and growth. The bridge to the next chapter summarizes the reasons you decided to take the next step in your career journey.

Your first step in crafting your Professional Experience Essay is to identify the “chapters” of your career.

1. Identify and Outline the Chapters of Your Career Story

Building Block Question: What are the major milestones in your career so far?

Start by asking yourself, “What are the major milestones in my career so far?”. Answering this question will help you to decide how to divide your career into phases. Changing companies is an obvious chapter break, but a step forward inside the same company, such as a promotion, a major increase in responsibility, or a high-profile project, might also mark a new phase in your career. Keep in mind that you won’t have time to detail each stage of your career in an essay – even if a chapter of your career lasted two or three years, you’ll need to summarize the most crucial information in that chapter in a few sentences.

Example: Our fictional applicant, Adam, has two significant chapters to highlight in his Professional Experience Essay.

Chapter 1 was graduating from college and accepting a 2-year analyst position at Deutsche Bank.

In Chapter 2, he took a job as an analyst at a Private Equity shop called Astrix Partners, where he worked for 18 months.

For the rest of this example, we’ll focus only on Chapter 2 of Adam’s Career Story, although Adam would need to write both chapters for his essay.

Once the chapters of your career are clear to you, you should outline each chapter’s contents. Each chapter in your career story should have a beginning, middle, and end. The beginning of one chapter (and possibly the end of the last) is usually denoted by your decision to take or leave a role. This leads us to the next step in building your Professional Experience Essay: explaining the professional decisions you have made in your career.

2. Explain the Reason(s) for Your Career Decision

Building Block Question: Why did you take the job or accept the new assignment?

For outlining purposes, each chapter begins with your career decision: “Why did you leave your old job and take the new one?” Admissions Officers can see what jobs you have had by reviewing your resume. In your Professional Experience Essay, you will explain why you decided to take the job or volunteer for a big assignment.

Ideally, each new chapter in your career was initiated by you and signified a step forward in your career action plan. Even if the career change was unplanned and outside of your control, that’s okay. For example, if you were laid off, focus on the positives instead of hiding the reality of what happened – it’s a chance to show resilience and that you can land on your feet after a setback.

Example: Adam plans to explain that he decided to leave Deutsche Bank and join Astrix because the move fit in with his long-term career plan to become a private equity investor.

3. Discuss Significant Challenges and Accomplishments

Building Block Question: What was the most significant challenge you faced? What did you achieve that you are most proud of?

The next building blocks are the significant challenges and accomplishments during this chapter of your career. Admissions officers enjoy hearing about the difficulties you overcame in this chapter in your career and about some standout moments where you made a real impact on your organization.

Identify the most significant challenge you faced and ask yourself, “What did I achieve that I am most proud of?”. In your outline, jot down quick examples of any standout moments and exceptional achievements at each juncture of your career.

Example: In terms of significant achievements, Adam plans to highlight sourcing a private equity deal, which is quite rare for a young PE analyst.

4. Share Major Areas of Growth

Building Block Question: How did you grow, and what did you learn in this phase of your career? How did you progress?

The fourth building block is your personal and professional growth. You might share knowledge acquired, lessons learned, or skills developed. Often, the most important and interesting things from an Admissions Officer’s point of view are what you’ve learned about yourself in your career so far: a new talent discovered, the emergence of new career interests, or clarity on an existing one.

Your objective is to highlight the skills, knowledge, and experiences from each chapter of your career that will contribute to your future success. By doing so, you ensure that your Professional Experience Essay will provide convincing evidence that you have already made significant progress on your future career path.

Example: Adam’s growth is relatively straightforward. He advanced beyond the transactional activities he performed as an investment banker and is now developing the strategic point of view required of a private equity investor.

After you’ve generated content for all of your career story chapters, take a step back and create a Lead for your story. A Lead is the story’s central message, the executive summary that communicates what your Professional Experience Story is about. If you had to sum up your career in a sentence or two, how would you do it? Some people call the central message of the career story your “elevator speech” – imagine that you had to convey the essence of your career story to an admissions officer during a short elevator ride.

Example: The lead for Adam’s career story is that he’s progressed from a green analyst to experienced private equity professional.

Below you will find an excerpt from the essay that resulted when Adam assembled his content building blocks.

Professional Experience Essay Sample

I was a quantitative economics major at Michigan. Although my education provided me with an excellent analytical foundation, I barely knew an income statement from a balance sheet the day I graduated from college.

(CAREER DECISION) I pursued a position in Deutsche Bank’s leveraged finance group, which provided an excellent foundation for a career in finance.

(CAREER GROWTH) Those two years with Deutsche Bank are where I learned the language of finance and the mechanics of investment banking.

(ACHIEVEMENT) Even amidst lay-offs in other areas of the firm, I was fortunate to be the only one in my start group offered a 3rd-year analyst job

(CAREER DECISION) The 3rd-year offer was tempting. I loved the firm and my team, but I also had an attractive offer with Astrix Partners, a private equity firm with $2.0 billion in assets. I have a real passion for investing. Since junior high, I’ve been trading stocks, and I started my subscription to the Wall Street Journal on my 13th birthday. What’s wild is that I’m now working on the kinds of deals that I used to read about in the Journal.

(ACHIEVEMENT) I really enjoy working on Astrix deals because we have unbelievable access to information and expertise — I talk to industry experts and read phenomenal research reports. I’ve found that I’m good at asking and answering questions like, “What do we have to believe about this company’s position in the marketplace before we would be willing to invest?”

(ACHIEVEMENT) Six months ago, through a family friend, I even helped us source a deal with an optical drive manufacturer in Boston and presented the idea to our investment committee… (example continues)

Final Thoughts

There’s nothing particularly exotic about Adam’s career journey. He has followed a more or less typical path from tier-one investment banking into a private equity shop. Nevertheless, by carefully outlining his professional history, he created a robust Professional Experience Essay for his MBA application.

Although his career path is relatively traditional, he’s managed to connect the dots between his professional experiences and the capabilities he’ll need in the future. By doing so, he’s able to represent his “employability” in the private-equity field post-MBA. Adam’s Professional Experience Story is compelling precisely because it will provide admissions officers with evidence that he’s made significant progress towards his future career goals.

If your Professional Experience Essay indicates professional growth and charts your progress toward your future career goals, then you will instill admissions officers with confidence that you have the skills, knowledge, and relationships necessary to succeed in your career post-MBA.

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Essay on First Travel Experience

Students are often asked to write an essay on First Travel Experience in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on First Travel Experience

Introduction.

Traveling is a fun and exciting activity. A person’s first travel experience is always special. It opens up a new world, full of different people, places, and cultures. This essay talks about such an experience.

Planning the Trip

Planning is the first step for any travel. You choose a place, look at the map, and pack your bags. It’s exciting but can also make you a bit nervous. You think about the things you will see and the fun you will have.

The Journey

The journey is an important part of travel. Whether it’s by car, train, or plane, it’s always thrilling. You see new landscapes and meet new people. It’s like a mini-adventure before reaching the destination.

Exploring the Destination

Once you reach your destination, the real fun begins. You visit places, try new food, and learn about different cultures. It feels like you’re part of a big, beautiful world. You make memories that stay with you forever.

In the end, the first travel experience teaches you a lot. It makes you brave and open-minded. It’s not just about seeing new places, but also about growing as a person. Everyone should travel at least once in their life.

250 Words Essay on First Travel Experience

My first travel experience.

Traveling is like opening a new book. You never know what surprises you will find. My first travel experience was a trip to the beautiful hills of Shimla, a popular tourist spot in India.

Getting Ready

The excitement started weeks before the journey. I helped my parents pack our bags. We packed warm clothes, snacks, and a camera to capture the moments.

The day finally came. We boarded the train, and I pressed my nose against the window, watching the world rush by. The hills started to appear in the distance, covered in greenery and mist. It was a sight to behold.

Exploring Shimla

In Shimla, we visited the famous Mall Road, a street filled with shops and eateries. We also rode on a horse to the top of a hill. The view from there was breathtaking.

Learning from the Trip

This trip taught me a lot. I learned about a new place, its culture, and people. I also learned how to adjust to new surroundings.

My first travel experience was unforgettable. It filled me with joy and left me with a desire to explore more. I believe every travel experience is a chance to learn and grow.

This essay is a glimpse of my first travel experience. It was a journey of fun, learning, and self-discovery. Traveling is truly a wonderful activity, and I look forward to my next adventure.

500 Words Essay on First Travel Experience

Traveling is an exciting activity that opens up new worlds to us. It is a chance to explore different places, meet new people, and learn about various cultures. My first travel experience was a memorable one that I will never forget.

The first step in any journey is the planning phase. My family and I decided to visit a famous tourist city during our summer holidays. We were all excited about the trip and started packing our bags a week before. We also made a list of places we wanted to see in the city.

The day of our journey finally arrived. We woke up early in the morning, packed our bags into the car, and set off. The journey was long but fun. We saw beautiful landscapes as we drove through the countryside. We played games, sang songs, and enjoyed snacks during the trip. It was a great bonding time for our family.

The Destination

When we reached our destination, we were amazed by its beauty. The city was full of life and color. There were many places to visit including parks, museums, and historical buildings. We spent the day exploring the city and enjoying its sights. The food was also delicious, and we tried many local dishes.

The Learning

Traveling is not just about seeing new places. It is also about learning new things. During our trip, we learned about the history and culture of the city. We also learned how to navigate through a new place and manage our time effectively. It was a great learning experience for all of us.

After spending a few days in the city, it was time to return home. We were sad to leave but also happy to have had such a great experience. The journey back home was just as fun as the journey to the city. We shared stories about our favorite parts of the trip and made plans for our next adventure.

My first travel experience was a memorable one. It was a chance to explore a new place, learn new things, and spend quality time with my family. It taught me the importance of embracing new experiences and stepping out of my comfort zone. Traveling is a wonderful way to broaden our horizons and I look forward to more travel adventures in the future.

This essay is a simple recount of my first travel experience. It is a reminder that every journey, no matter how small, can be a great adventure. It encourages us to be open to new experiences and to appreciate the world around us. So, pack your bags, and get ready for your own travel adventure!

That’s it! I hope the essay helped you.

If you’re looking for more, here are essays on other interesting topics:

• Essay on First Train Journey
• Essay on First Time On A Roller Coaster
• Essay on First Time On A Plane

Apart from these, you can look at all the essays by clicking here .

Happy studying!

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