she was essay

Then She Was Gone

48 pages • 1 hour read

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Chapter Summaries & Analyses

Prologue-Part 1, Chapter 12

Part 2, Chapters 13-19

Part 2, Chapters 20-26

Part 3, Chapters 27-35

Part 4, Chapters 36-49

Part 4, Chapters 50-57

Part 5, Chapter 58-Epilogue

Character Analysis

Symbols & Motifs

Important Quotes

Essay Topics

Summary and Study Guide

Lisa Jewell’s mystery novel, Then She Was Gone , follows Laurel Mack in her search for answers regarding her daughter Ellie’s disappearance. Through a series of flashbacks and differing points of view, Jewell gradually unfolds the details of the past and looks inside the mind of the psychopath who kidnapped Ellie, all while chronicling the steps Laurel must take to heal from the sorrow that has consumed her.

This novel was originally published in 2017, but this guide refers to the Atria paperback reprint edition from 2018.

Content Warning: The source material and this guide contain instances and discussions of miscarriage, suicide, and sexual violence.

Plot Summary

When Laurel Mack’s daughter, Ellie, disappeared 10 years ago, Laurel’s life fell apart. Her marriage to her husband, Paul, ended; she doesn’t have a close relationship with either of her two remaining children, Jake and Hanna; and she struggles to find purpose in her life. When the police find Ellie’s partial remains, and Laurel says goodbye at the funeral, she thinks she will find closure, but instead, she finds a mystery.

Laurel meets Floyd Dunn , and for the first time since Ellie’s disappearance, feels a sense of happiness and hope. However, when she meets Floyd’s nine-year-old daughter Poppy , Laurel is struck by the similarities between Poppy and Ellie. Throughout her relationship with Floyd, Laurel begins to heal the wounds of the past. She seeks forgiveness from her ex-husband, Paul, shares happy moments with her elderly mother, and finds herself taking an interest in daily routines such as cooking and getting dressed up. She even begins to heal her relationship with her daughter Hanna, realizing that she has always seen her as a “consolation prize” to Ellie (301), rather than as a brilliant daughter in her own right.

Along her journey of healing, Laurel also discovers strange coincidences. For example, Noelle Donnelly , Poppy’s mother, disappeared when Poppy was four. Laurel soon realizes that Noelle was Ellie’s tutor in the months before she vanished and wonders at the connection between their disappearances. Furthermore, Floyd’s other daughter from a previous marriage, SJ, tells Laurel she saw Noelle naked at eight months pregnant, and she didn’t have a baby bump. Laurel follows the clues to Noelle’s house, where she sees Noelle’s creepy basement “guest room” full of hamster cages and secured with three locks on the basement door. While investigating Noelle and her connection to Ellie, Laurel also begins to notice peculiarities about Floyd and Poppy. Poppy’s self-assuredness, while impressive at first, strikes Laurel as strange and wrong, as if Floyd coached her on what to say and do. She also catches Floyd lying about Noelle, and she alternates between suspicion of Floyd and love for him as she tries to solve the mystery.

Meanwhile, in flashbacks, Noelle chronicles her obsession with Floyd and the ups and downs of their relationship. Convinced that having a baby will help her keep Floyd’s affection, Noelle feels desperate after repeated miscarriages. Then she meets Ellie, her bright and beautiful new tutee. She becomes obsessed with Ellie, thinking that being around Ellie will make her happier and will solve all the problems in her relationship with Floyd. Noelle lures Ellie into her house, drugs her, and keeps her captive in the basement. Noelle then impregnates Ellie using sperm from a donor, and Ellie gives birth to a little girl, Poppy. However, Noelle’s plan does not help her win Floyd back the way she had hoped. Floyd is enamored with Poppy, but he still breaks up with Noelle. Ellie develops a post-partum infection, and Noelle, unwilling to take care of her, leaves her to die in the basement.

When Poppy is a toddler, Floyd recognizes that Noelle is an unfit mother, and he plans to take Poppy away from her. Unable to cope with the idea of losing her last link to Floyd, Noelle blurts out the truth—that Poppy is not their child; she’s the daughter of a girl named Ellie. Filled with horror and rage, Floyd attacks her and accidentally kills her.

Flashing forward to the present, on Christmas day, Laurel goes to Floyd’s house, and he leaves while she watches his taped confession. He admits to killing Noelle and explains that he truly loved Laurel and wants to do what’s best for her and Poppy. He entrusts Poppy to Laurel, her biological grandmother, and shortly after leaving, Floyd kills himself. Despite the trauma of learning the details of Ellie’s disappearance, Laurel finds new meaning for her life. She renews a close relationship with her family, particularly Hanna, and now gets to be a mother to Ellie’s daughter, Poppy. Uncovering the details of the past have led Laurel toward healing and have given purpose to her life.

Related Titles

By Lisa Jewell

Invisible Girl

None of This Is True

The Family Remains

The Family Upstairs

The Girls in the Garden

The House We Grew Up In

The Night She Disappeared

Watching You

Featured Collections

Daughters & Sons

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Mystery & Crime

‘I hate the letter S’: This college essay on the loss of a parent helped a Bridgewater teen into Harvard — and went viral

"i used to have two parents, but now i have one, and the s in parents isn't going anywhere.”.

By Christopher Gavin

At 12 years old, Abigail Mack lost the “S.”

Her mother, Julie-Ann, had battled cancer as a teen, but the disease re-emerged several times as an adult and, in 2014, she passed away.

“My dad became just my everything,” Mack, of Bridgewater, told Boston.com. “I mean, he’s my best friend and I’m so fortunate to have him in my life.”

Still, the loss naturally had a lasting impact on Mack, now 18 years old and a senior at Cardinal Spellman High School in Brockton. She always knew the death of her mother would be something she wanted to discuss in her college application essay, but she was hesitant.

There’s a stigma around writing about personal trauma in the application process, Mack said.

“It can come across as very just a pity party, and ‘Hey, look what I’ve overcome.’ And so it sometimes, it can almost hurt you more than helping you if it just is coming across as you trying to use that just to your advantage,” Mack said. “But I also didn’t want to just shy away from it because it has been something that’s been really important in how my life has turned out.”

How would she get across what she wanted to say?

Working with her English teacher, Mack struggled through reworking the first draft.

“I just remember sitting down with a blank document, and I don’t know how I thought of it, but all of a sudden, I thought about the difference between parent and parents,” she said. “And I said, ‘I hate the letter S.’ And then I just started writing.”

“I hate the letter S. Of the 164,777 words with S, I only grapple with one. To condemn an entire letter because of its use .0006 percent of the time sounds statistically absurd, but that one case changed 100 percent of my life. I used to have two parents, but now I have one, and the S in parents isn’t going anywhere.”

@a_vmack ♬ original sound – Abigail Mack

The essay has now been heard millions of times after various videos Mack posted to the social media platform TikTok , detailing what she wrote and reciting it for her followers, went viral, with one attracting 16.5 million views alone.

Mack said the surprise popularity began with a previous video she posted, documenting her reaction the moment she found out she was accepted to Harvard University’s incoming freshman class; that post now has over 100,000 views. (Mack is among the 1,968 students admitted to the Class of 2025, who faced an extremely competitive applicant pool: total applications were up almost 43 percent over the past year.)

Commenters on the video — and on a follow up post on Mack’s academic “stats” — wanted to know all about her academic life, from the classes she took to what extracurricular activities she did throughout high school.

Mack started a series of college help videos, but many viewers kept asking: What did she write about for her college essay?

Unsure if she wanted to disclose something so personal, she posted videos describing what she wrote, which have now garnered close to 2 million views total.

And with even more curiosity from viewers, she decided to post the whole thing.

“I didn’t think it would take off as much as it did, but it did, and here we are,” Mack said. “But it’s really surreal.”

In the essay, Mack wrote how when the world wouldn’t abandon the letter S, she tried to abandon it herself.

When friends would be eating dinner with their parents, Mack threw herself into so many extracurricular activities she wouldn’t have time for family dinner — a strategy to avoid confronting the absence of S.

“I became known as the busy kid: The one that everyone always asks how do you have time? Morning meetings, classes, after school meetings, volleyball practice, dance class, rehearsal in Boston, homework, sleep, repeat. My specific schedule has changed over time, the busyness has not. I couldn’t fill the loss S left in my life, but I could at least make sure I didn’t have to think about it.”

When S came creeping back, Mack added another ball to the many she juggled, she wrote. Over time, she noticed she was drawn to more distinct interests, in theatre, academics, and politics.

Mack’s love of dance and theater comes from her mother, who opened a dance studio that her father still operates, she said. This past year, a burgeoning interest in politics brought her to phone bank for now-President Joe Biden, and eventually a fellowship position on the campaign to re-elect Sen. Ed Markey.

“I stopped running away from a single S and began chasing a double S: Passion. Passion has given me purpose.”

“I was shackled to S, as I tried to escape the confines of the traditional familial structure. No matter how far I ran, S stayed behind me, because I kept looking back. I finally learned to move forward instead of away, and it’s liberating. S got me moving, but it hasn’t kept me going. I wish I could end here, triumphant and basking in my new inspiration, but life is more convoluted.”

Motivation, Mack wrote, is a double-edged sword. It keeps her looking forward, but it also prevents her from having to look back.

“Motivation is what keeps us at bay. I’m not perfectly healed, but I’m perfect at navigating the best way to heal me. I don’t seek out sadness, so S must stay on the sidelines. And until I am completely ready, motivation is more than enough for me.”

Mack now has over 100,000 followers on TikTok, and wants to use her newfound platform to try to enlighten and help others with the college application process.

But Mack, who said she has an interest in foreign relations, wants to make clear: There is no one way to get admitted to a school.

“I really want my message to be that you need to demonstrate your passions, whatever they are, because colleges want to see what you’re interested in — and they want to see you committed to those interests,” Mack said. “And if by sharing my personal story and my personal extracurriculars and classes, how I got to where I am, will help people see their own voice, then I’d say it’s been worth it.”

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A Summary and Analysis of Amy Tan’s ‘Mother Tongue’

By Dr Oliver Tearle (Loughborough University)

‘Mother Tongue’ is an essay by Amy Tan, an American author who was born to Chinese immigrants in 1952. Tan wrote ‘Mother Tongue’ in 1990, a year after her novel The Joy Luck Club was a runaway success. In the essay, Tan discusses her relationship with language, and how her mother’s influence has shaped her use of English, as well as her attitude to it.

You can read ‘Mother Tongue’ here before proceeding to our summary and analysis of Amy Tan’s essay below.

‘Mother Tongue’: summary

Amy Tan begins her essay by offering her personal opinions on the English language. She recalls a recent talk she gave, when, upon realising her mother was in the audience, she was confronted with the fact that the formal standard English she was using in the public talk was at odds with the way she spoke at home with her mother. She then contrasts this with a moment when she was walking down the street with her mother and she used the more clipped, informal English she naturally uses with her mother, and her husband.

Tan calls this a ‘language of intimacy’. She points out that her mother is intelligent and reads things which Tan herself cannot begin to understand. But many people who hear her mother speak can only partially understand what she is saying, and some even say they can understand nothing of what she says, as if she were speaking pure Chinese to them.

Tan calls this clipped informal language her ‘mother tongue’, because it was the first language she learned and it helped to shape the way she saw the world and made sense of it.

Tan notes the difficulty of finding a term to describe the style of English her mother, as a Chinese immigrant to the United States, speaks. Many of the terms, such as ‘broken’ or ‘limited’, are too negative and imply her English is imperfect.

She acknowledges that when she was growing up, she was ashamed of the way her mother spoke. Her mother, too, was clearly aware of how her use of the language affected how seriously people took her, for she used to get her daughter to phone people and pretend to be ‘Mrs Tan’.

She observes that her mother is treated differently because of the way she speaks. She recounts a time when the doctors at the hospital were unsympathetic towards her mother when they lost the results of the CAT scan they had undertaken on her brain, but as soon as the hospital – at her mother’s insistence – called her daughter, they issued a grovelling apology.

Amy Tan also believes her mother’s English affected her daughter’s school results. Tan acknowledges that, whilst she did well in maths and science, subjects with a single correct answer, she was less adept at English. She struggled with tests which asked students to pick a correct word to fill in the blanks in a sentence because she was distracted by the imaginative and poetic possibilities of other words.

Indeed, Tan conjectures that many Asian American children are probably encouraged to pursue careers in jobs requiring maths and science rather than English for this reason. But because she is rebellious and likes to challenge people’s assumptions about her, Tan bucked this trend. She majored in English at college and began writing as a freelancer.

She began writing fiction in 1985, and after several false starts trying to find her own style and idiom, she began to write with her mother in mind as the ideal reader for her stories. Indeed, her mother read drafts of her work.

And Tan drew on all the Englishes , plural, that she knew: the ‘broken’ English her mother used, the ‘simple’ English Tan used when talking to her mother, the ‘watered-down’ Chinese her mother used, and her mother’s ‘internal’ language which conveyed her passion, intent, imagery, and the nature of her thoughts. When her mother told her that what she had written was easy to read, Tan knew that she had succeeded in her aims as a writer.

‘Mother Tongue’: analysis

The title of Amy Tan’s essay is a pun on the expression ‘mother tongue’, referring to one’s first language. But Tan’s language, or ‘tongue’, has been shaped by her actual mother, whose first language (or mother tongue) was not English, but Chinese.

The different forms of English that mother and daughter speak are also a product of their backgrounds: whilst Tan’s mother is a Chinese immigrant to America, Tan was born in the United States and has grown up, and been educated, in an English-speaking culture.

Much of Tan’s 1989 novel The Joy Luck Club is about daughters and their relationships with their mothers. But Tan’s interest in language, both as a cultural marker and as a way of expressing thought and personality, is also a prevailing theme of the novel.

In this respect, if the parable ‘ Feathers from a Thousand Li Away ’ acts as preface to the novel, ‘Mother Tongue’, in effect, acts as a kind of postscript. It helps us to understand the way Tan approaches and uses language within the stories that make up The Joy Luck Club .

An overarching theme of Tan’s novel is mothers emigrating to America in the hope that their daughters will have better lives than they did. This is a key part of ‘Feathers from a Thousand Li Away’, and it helps us to understand Tan’s conflicted attitude towards her mother’s use of language as explored in ‘Mother Tongue’.

Many of the mothers in The Joy Luck Club , such as Betty St. Clair in ‘The Voice from the Wall’, feel isolated from those around them, never at home in America, and hyper-aware of their outsider status, despite becoming legal permanent citizens in the country. Tan’s autobiographical revelations in ‘Mother Tongue’ show us that her own mother struggled to be taken seriously among Americans, and Tan diagnoses this struggle as a result of her mother’s different way of speaking.

Tan, by contrast, used standard English – what used to be referred to, in loaded phrases, as ‘correct’ or ‘proper’ English – and was thus able to succeed in getting herself, and by extension her mother, taken seriously by others. Language is thus more than just a cultural marker: Tan reveals, in ‘Mother Tongue’, the extent to which it is a tool of power (or, depending on the use, powerlessness), particularly for those from migrant backgrounds.

In this connection, it is noteworthy that Tan chooses to focus on the school tests she undertook before concluding that her mother’s ‘broken’ style of English has been misunderstood – not just literally (by some people who’ve known her), but in terms of the misleading perceptions of her it has led others to formulate.

The class tests at school which reduced English proficiency to an ability to recognise a ‘correct’ answer are thus contrasted with Tan’s resounding final words of ‘Mother Tongue’, which see her seeking to capture the passion of her mother, the ‘nature of her thoughts’, and the imagery she uses: all things which her daughter has clearly inherited a respect for, and which school tests fail to capture or observe.

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Nonfiction That Rivals Little Women : The Forgotten Essays of Louisa May Alcott

Liz rosenberg on the literary marvels of alcott's memoirs.

Louisa May Alcott is best known for Little Women , of course, her classic American novel for young readers—but she earned her first taste of celebrity as an essayist. That should surprise no one. Her writing genius defied genre. In many ways, her finest essays are even more brilliant—more consistently brilliant—than her novels and stories. Three of her non-fiction pieces alone—”Going Out to Service”; “Transcendental Wild Oats”; and “Hospital Sketches”—are, as they used to say in Charles II’s day, worth the price of admission to all the rest. Anyone who has read and loved her novels will recognize her characteristic style, energy and wit.

Louisa May Alcott was born to a family of high idealists—lovers of equality, ideas, and books. Her first playthings as a toddler were her father’s volumes from his private library. She learned to express herself and share her observations of the world in the childhood journals her parents required her to write. These provided a habit of writing, and also fodder for novels, stories and non-fiction to follow in time.

In her earliest writings she identifies and scorns hypocrisy—especially when it harms the poor, the helpless, and the young. By her teens, she exercises the eagle eye of a reporter. For instance, she describes the highly-respected Julia Ward Howe, author of the American anthem, “Battle Hymn of the Republic” as a “straw colored supercilious lady with pale eyes & a green gown in which she looked like a faded lettuce.” Her Boston relations would have been appalled had they read her notes.

Louisa sharpened her literary tools in those diaries and letters—and by the time she was writing essays she’d begun to truly hone her craft. One of her literary idols was Charles Dickens. She modeled the family “newspaper” on his Pickwick Papers , shared his empathy for the downtrodden, and learned from him to pay close attention to and bring readers to love even her most minor characters.

Alcott played a supporting role in her own family, shaped in the shadow of her eccentric philosopher father. Bronson Alcott stood tall among the founders of American Transcendentalism and Louisa’s first teachers and adult friends included great figures like Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, and Nathaniel Hawthorne. No one could have had a more exalted education. Emerson loaned her books from his library and Thoreau became her first natural science teacher, escorting the four Alcott sisters on walks and canoe rides, pointing out the flora and fauna (and more fancifully, the fairies) of New England.

Alcott began to write seriously in early childhood. She composed her first poem, “To the First Robin” when she was eight. By the time she was fourteen, she was given the great gift of her own room and desk. As a teenager she wrote anything and everything—stories, romances, news articles for the family paper, comedies, melodramas, poetry and plays.

Her earliest “real book,” as she called it, was Flower Fables published in December, 1854; a collection of fairy tales written for her pupil Ellen Emerson, the daughter of Ralph Waldo Emerson. Inscribing the very first copy to her mother, Louisa made an apology and a promise: “I hope to pass in time from flowers and fables to men and realities.” One of the ways she kept her promise was by writing autobiographical essays about even the grittiest “realities.”

In one of her earliest essays, “Going Out to Service,” Alcott records her labors as a young, naïve and over-worked domestic servant. When Alcott was about fifteen, her mother began an informal employment agency geared to help the poor. Louisa became one of her early “clients,” going out to keep house for a miserly lawyer in Dedham. Alcott’s sympathies always lay with under-appreciated and underpaid female workers, and the roots of her sympathy may have begun with her own difficult experiences “in service,” shoveling snow, cooking, cleaning, hauling water and chopping wood. There is nothing glamorous about her character in the piece. Most authors would hesitate to show themselves in such a humble and humbled light.

Yet the piece is as deft as anything she ever wrote. Alcott’s sanctimonious minister-employer proves to be a liar, glutton, and predator with designs on the poor young author. “[H]e presented me with an overblown rose, which fell to pieces before I got out of the room, pressed my hand, and dismissed me with a fervent “God bless you, child. Don’t forget the dropped eggs for breakfast.” Part of the tragicomedy is that the innocent narrator doesn’t see his misbehavior coming—but the reader does.

The narrator seems to leap right out of a Jane Austen novel. She sees but does not understand what lies ahead. “He possessed an impressive nose, a fine flow of language, and a pair of large hands, encased in black kid gloves.” Those large hands “encased” in black kid gloves are also the stuff of gothic horror—at which Alcott also excelled.

An aspiring, unknown Louisa Alcott presented “Going Out to Service” in 1861 to Boston’s most distinguished publisher, James Field of newly-created Atlantic Monthly . He glanced through the piece and dismissed her with a condescending “Stick to your teaching, Miss Alcott. You can’t write.” To add insult to injury, her offered her forty dollars as a loan to start her own school. Luckily for us all, a quiet young editor named Thomas Niles sat beside Fields during this interview, listening in. Years later, he commissioned, edited, and published her novel Little Women .

Her first taste of significant success came from a book-length memoir about her time as a Union war nurse. Alcott’s autobiographical “Hospital Sketches” captured the attention of a reading public hungry for news of the American Civil War. But it was not written with an eye toward fame. Culled from letters home and journal notes, Alcott thought it a hodge-podge of sketches, unlikely to interest anyone.

She was more shocked than anyone when it became a popular sensation. First published in serial form and later as a book, (1863) “Hospital Sketches” provided rare on-the-ground reportage of the long, bloody conflict from a war nurse’s perspective—a thing unheard of at the time. Her non-fiction was sometimes severe, and always strived to be real—even when she included elements obviously invented.

“Hospital Sketches,” this longest and most memorable work of non-fiction, features a Civil War narrator named “Nurse Periwinkle.” Nearly everything else in it derives from her actual personal history: Louisa did nurse sick and dying Union soldiers; she witnessed their arrival from the catastrophic battle at Fredericksburg. She served as head of the night ward after only two weeks on the job. In the Hurly Burly House hospital (again, only the name is changed) she came down with typhoid pneumonia that nearly killed her, and was heavily dosed with the wonder drug calomel, the mercury poison that likely did.

Grateful nineteenth century readers found in “Hospital Sketches” their first real-life account of the solders’ experiences of the Civil War. Hers was new journalism before the phrase was ever invented—and readers embraced it. War news traveled northward slowly and unreliably. “Hospital Sketches” filled the gap for anxious Yankee families and friends. But Louisa expressed amazement at the book’s success. “I cannot see why people like a few extracts from topsey turvey letters written on inverted tea kettles,” she marveled. Only later did she admit that these autobiographical and realistic essays “pointed the way” toward her true writing material and style.

Among her best essays, one of the last written is Alcott’s autobiographical piece on her unhappy early childhood experience at a communal farm. Written in 1873, “Transcendental Wild Oats” alternates broad comedy with tragedy. It records in detail the near-dissolution of the Alcott family. They nearly froze, nearly starved. The commune even at its most populous was too small to succeed, and it housed eccentrics and bonafide lunatics equally. The utopian experiment was a dismal failure, for the commune and for the Alcotts personally, and at the end of it all Bronson suffered a breakdown.

Surely these events were traumatic for a ten year old child, and this may partly explain why she waited so long to write about it, but in “Transcendental Wild Oats Alcott” never lingers on the psychological devastation. Instead of dwelling in the self-reflection more typical of memoir, she focuses on the characters around her and records the homely details of daily life—”unleavened bread, porridge, and water for breakfast; bread, vegetables, and water for dinner; bread, fruit, and water for supper”—leaving little room for disbelief.

It must all be true, because it sounds true. Indeed that is part of her genius as an essayist and memoirist. She is as succinct as a newspaper reporter. Her prose canters along. She covers great distances in the fewest words. There is no dilly-dallying. Alcott once advised an aspiring writer, “The strongest, simplest words are best.”

On more than one occasion she halted publication of her nonfiction because she felt it was not true, not deep enough. This happened with a linked series of European travel essays, written for a projected book called Shawl-Straps . Instead, the pieces appeared later in miscellaneous books like Aunt Jo’s Scrap-Bag , where the spare parts could find a place. The popularity of her “Hospital Sketches” had led to invitations for similar works of nonfiction. One collection intended as a travelogue of American places she cut short close to its start, fearing that writing superficially might become a bad habit. She refused to become an imitation of herself.

Nor was she ever willing (or perhaps even able) in her nonfiction to keep a straight face throughout, no matter how somber the subject matter. In her lighter tone—her tone, throughout all of her essays, is flexible—she captures, for example, the comic anxiety of the amateur traveler desperate not to lose important papers: “put my tickets in every conceivable place…and finish by losing them entirely. Suffer agonies till a compassionate neighbour pokes them out of a crack with his pen-knife.”

Her essays are rich with unerasable moments, and as in her greatest works of fiction, they strike the intersecting point between tragedy and comedy. If she tugs on heart-strings in her essays—and most assuredly she does—she also demonstrates a clear awareness of the funny side of life.

Alcott understood that habitual use of humor and exaggeration might incline readers to doubt the veracity of her non-fiction. At the end of Hospital Sketches she urges the reader to believe what is only partly true: “such a being as Nurse Periwinkle does exist, that she really did go to Washington, and…these Sketches are not romance.” Her fiction found its roots in real-life experiences and her non-fiction always contained kernels of invention. She largely shrugged off strict distinctions between fact and fiction.

In her non-fiction Alcott spoke her mind, politically and otherwise, and incorporated into her writing her beliefs in abolition, suffrage and equal rights. She also wrote dozens of civic-minded minded letters, both privately and publicly, on issues important to her day. Newspapers provided a handy platform. One of her shortest pieces, “Happy Women,” published in a “Column of Advice to Young Women” on—of all days—Valentine’s Day, defends women’s inalienable right to remain single.

Alcott herself, though she later became an adoptive mother to a niece and a nephew, never married. Her mother Abigail May Alcott had labored in Boston’s worst slums, campaigning tirelessly for healthier, safer working conditions for women, fair pay, equal opportunity. Louisa was an outspoken defender of the rights of women to vote, early and late. (She was also the first woman ever to cast a vote in her home town of Concord, Ma.) She shared her mother’s dedication to feminist causes and social justice.

In her fiction for young readers she had become known as “The Children’s Friend.” Such accolades were both enriching (financially and otherwise) and limiting. Essay writing allowed her to say openly what her children’s stories could only suggest. She had tried bringing her social conscience and philosophical beliefs into her adult fiction, only to find herself roundly condemned for thinking as she did—perhaps indeed for thinking at all.

Fortunately for her future young readers, her “serious” literary fiction—which she’d believed was her destined format—was a commercial failure, coming into print only on the heels of the far more successful Hospital Sketches. That essay’s success was the main reason her literary novels were published at all. Suddenly, Alcott became a viable commodity. Her first serious novel, Moods , published in 1864, earned tepid reviews at best and poor sales; her second, Work , published nine years later, fared no better.

Even her more daring, gothic novels appeared only under a series of pseudonyms. Had any of these fully succeeded, we might never have had Little Women, nor any of its successors. As it was, Alcott tumbled into children’s literature—or was pushed into it, by Thomas Niles, the young editorial assistant who had seen her early essay “Going Out to Service” rejected out of hand.

In the 1860s and 70s a new pseudonymous “Oliver Optic” series of books for boys flooded a new market and Niles wanted to test the publishing waters for girls, believing there was a vacuum waiting to be filled. He used a blend of charm, encouragement and family pressure to persuade Louisa to try her hand at a girl’s novel. Privately she noted in her journal, “I plod away, though I don’t enjoy this sort of thing. Never liked girls or knew many, except my sisters; but our queer plays and experiences may prove interesting, though I doubt it.” The one saving grace, she believed, was the story’s reality: “we lived it.”

Autobiographical essays such as “How I Went Out to Service,” “Hospital Sketches” and “Transcendental Wild Oats” are closer in tone, style, voice and subject matter to Little Women than any of her early fiction, including her many gothic romances and the two serious novels. If one wants to see the author of the March family chronicles in the making, one need look no further than into those three exceptional essays. The published thrillers such as A Long Fatal Love Chase sound nothing like the author beloved in young people’s books like Little Women , Little Men , and Jo’s Boys .

But the essays certainly do. Even if they were not the literary jewels they are, they would be worthy of attention. It’s not often that we get to see a great author coming into her own before our eyes. The essays also give further proof of her indefatigable energy. Nothing but death and dying could slow her down.

As a young woman Alcott wrote for ten and twelve hours a day, in addition to her other labors. Later, after her stint as a war nurse, she wrote with an aching arm, or painfully swollen leg propped up on a stool. Mercury poisoning from the “miracle cure” calomel she’d been given, slow and insidious, had begun to take effect. The writing “machine,” as she called herself, labored to keep producing. She published not only to express herself, but to earn money to keep “The Pathetic Family,” (her private name for the Alcotts) afloat. She could not afford to sentimentalize or write lengthy and rambling descriptions; or to hold forth like her father. She knew she must “please the public or starve.”

As a woman and as an author, Alcott was a force of nature. She worked incredibly long hours for years—scrubbed and sewed through the night, cleaned and cooked, taught school, walked miles to get where she needed to go—while also writing her own material in every possible genre hours a day. None of non-fiction was ever intended to be her “real” work—that ambition she reserved for her unsuccessful literary adult novels.

But the warm reception of her essay “Hospital Sketches” gave her confidence to trust her own voice and material. Without that “hint,” as she called it, she never could have written Little Women . It proved to her that people love truth as well as invention. Under the most challenging circumstances, she kept on writing, celebrating the good and calling out the bad. She rejected sentimentality and self-pity in an era that encouraged both, especially for women who were expected to faint away at the first obstacle. That was not Louisa’s way. “I was there to work, not to wonder or weep….”

______________________________

A Strange Life: Selected Essays of Louisa May Alcott - Alcott, Louisa May

A Strange Life: Selected Essays of Louisa May Alcott is available via Notting Hill Editions .

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Teen Shares The Powerful Essay That Got Her Into Harvard And We’re All Crying.

The New York Times

Opinionator | the perfect essay.

The Perfect Essay

Draft is a series about the art and craft of writing.

Looking back on too many years of education, I can identify one truly impossible teacher. She cared about me, and my intellectual life, even when I didn’t. Her expectations were high — impossibly so. She was an English teacher. She was also my mother.

When good students turn in an essay, they dream of their instructor returning it to them in exactly the same condition, save for a single word added in the margin of the final page: “Flawless.” This dream came true for me one afternoon in the ninth grade. Of course, I’d heard that genius could show itself at an early age, so I was only slightly taken aback that I had achieved perfection at the tender age of 14. Obviously, I did what any professional writer would do; I hurried off to spread the good news. I didn’t get very far. The first person I told was my mother.

My mother, who is just shy of five feet tall, is normally incredibly soft-spoken, but on the rare occasion when she got angry, she was terrifying. I’m not sure if she was more upset by my hubris or by the fact that my English teacher had let my ego get so out of hand. In any event, my mother and her red pen showed me how deeply flawed a flawless essay could be. At the time, I’m sure she thought she was teaching me about mechanics, transitions, structure, style and voice. But what I learned, and what stuck with me through my time teaching writing at Harvard, was a deeper lesson about the nature of creative criticism.

First off, it hurts. Genuine criticism, the type that leaves an indelible mark on you as a writer, also leaves an existential imprint on you as a person. I’ve heard people say that a writer should never take criticism personally. I say that we should never listen to these people.

Criticism, at its best, is deeply personal, and gets to the heart of why we write the way we do. Perhaps you’re a narcissist who secretly resents your audience. Or an elitist who expects herculean feats of your reader. Or a know-it-all who can’t admit that stylistic repetition is sometimes annoying redundancy. Or a wallflower who hides behind sparklingly meaningless modifiers. Or an affirmation junkie who’s the first to brag about a flawless essay.

Unfortunately, as my mother explained, you can be all of these things at once.

Her red pen had made something painfully clear. To become a better writer, I first had to become a better person. Well before I ever read it, I came to sense the meaning of Walt Whitman’s “ Song of Myself. ” And I faced the disturbing suggestion that my song was no good.

The intimate nature of genuine criticism implies something about who is able to give it, namely, someone who knows you well enough to show you how your psychic life is getting in the way of good writing. Conveniently, they’re also the people who care enough to see you through the traumatic aftermath of this realization. For me the aftermath took the form of my first, and I hope only, encounter with writer’s block.

It lasted three years.

Franz Kafka once said: “Writing is utter solitude, the descent into the cold abyss of oneself.” My mother’s criticism had shown me that Kafka is right about the cold abyss, and when you make the introspective descent that writing requires you’re not always pleased by what you find. But, in the years that followed, her sustained tutelage suggested that Kafka might be wrong about the solitude. I was lucky enough to find a critic and teacher who was willing to make the journey of writing with me. “It’s a thing of no great difficulty,” according to Plutarch, “to raise objections against another man’s oration, it is a very easy matter; but to produce a better in its place is a work extremely troublesome.” I’m sure I wrote essays in the later years of high school without my mother’s guidance, but I can’t recall them. What I remember, however, is how she took up the “extremely troublesome” work of ongoing criticism.

There are two ways to interpret Plutarch when he suggests that a critic should be able to produce “a better in its place.” In a straightforward sense, he could mean that a critic must be more talented than the artist she critiques. My mother was well covered on this count. (She denies it, but she’s still a much, much better writer than I am.) But perhaps Plutarch is suggesting something slightly different, something a bit closer to Cicero’s claim that one should “criticize by creation, not by finding fault.” Genuine criticism creates a precious opening for an author to become better on his own terms — a process that’s often excruciating, but also almost always meaningful.

My mother said she would help me with my writing, but first I had to help myself. For each assignment, I was to write the best essay I could. Real criticism isn’t meant to find obvious mistakes, so if she found any — the type I could have found on my own — I had to start from scratch. From scratch. Once the essay was “flawless,” she would take an evening to walk me through my errors. That was when true criticism, the type that changed me as a person, began.

She chided me as a pseudo-sophisticate when I included obscure references and professional jargon. She had no patience for brilliant but useless extended metaphors. “Writers can’t bluff their way through ignorance.” That was news to me — I’d need to find another way to structure my daily existence. She trimmed back my flowery language, drew lines through my exclamation marks and argued for the value of understatement. “John,” she almost whispered. I leaned in to hear her: “I can’t hear you when you shout at me.” So I stopped shouting and bluffing, and slowly my writing improved.

Somewhere along the way I set aside my hopes of writing that flawless essay. But perhaps I missed something important in my mother’s lessons about creativity and perfection. Perhaps the point of writing the flawless essay was not to give up, but to never willingly finish. Whitman repeatedly reworked “Song of Myself” between 1855 and 1891. Repeatedly. We do our absolute best with a piece of writing, and come as close as we can to the ideal. And, for the time being, we settle. In critique, however, we are forced to depart, to give up the perfection we thought we had achieved for the chance of being even a little bit better. This is the lesson I took from my mother: If perfection were possible, it wouldn’t be motivating.

John Kaag is an associate professor of philosophy at the University of Massachusetts Lowell and former visiting assistant professor of expository writing at Harvard. He is the author of the forthcoming book “Finding Westwind: A Story of American Philosophy.” And yes, Becky Griffith Kaag, his mother and a former high school English teacher, took her editing pen to this essay.

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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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Alternative word for "she"

I am writing about a female person. I noticed most of my sentences start with "she". Is there a way to avoid using this pronoun too many times, and use an alternative word instead?

I have tried using her name from time to time, but the sentences seem to be unconnected when I switch from she to her name.

word-choice

1 Related: writers.stackexchange.com/questions/5438/… and writers.stackexchange.com/questions/3161/… – Lauren-Clear-Monica-Ipsum Commented May 3, 2014 at 19:05
Somewhat related: How to avoid repetitive sentence structure? – user5232 Commented Jul 11, 2014 at 16:34
Couldn't you just use the characters name instead of "She"? – Jason K Commented Oct 5, 2016 at 14:23

2 Answers 2

I can think of four ways to lessen the repetitive use of sentences starting with a nominative pronoun like "She" (other than using the person's name).

Changing the subject to a part or aspect of the character

In some cases, one can present the action as performed by some part or aspect of the person. While this will typically use the genitive form of the pronoun, it can still reduce the perception of repetition. E.g.:

She looked down at her plate and remembered how much she disliked broccoli.

could become:

Her eyes dropped down to her plate, even the melted cheese could not cover the recall of her dislike of broccoli.

She was bored. She yawned openly as the lecturer's voice droned on.

Her body ached with boredom, and her uncovered yawn brought no relief as the lecturer's voice droned on.

This kind of change can give an excessive emphasis on the aspect of the character (e.g., the body), potentially reducing the recognition of the character's other attributes. On the other hand, this may encourage an excessive interest in the character because the description tends to seem more vivid; if the reader is meant to identify more deeply with the character, this may be appropriate.

Making the character the object of the sentence

In some cases, one can have an object acting upon the character. This would also not remove the pronoun but change its case (from nominative to objective) and position. E.g.:

She hurried out the shed, fleeing the stench of rotting wood.

The stench of rotting wood chased her from the shed.

She looked at the pearl necklace and longed for a man who thought her worthy of such a gift.

The pearl necklace held her gaze and stirred her longing for a man who thought her worthy of such a gift.

It may not even be necessary to include the character in the action. E.g.:

She returned the plate of uneaten broccoli to the kitchen and went to cure her boredom with some television.

The plate of broccoli returned to the kitchen uneaten; the television's offer of distraction was irresistible.

She slept fitfully and woke unrested to rumpled bed coverings.

The rumpled bed coverings declared another restless night of fitful sleep.

This type of change can give the impression of abstracting the character from the scene. Sometimes this may be desirable for presenting the character as less active (e.g., bored, depressed, or trapped) or perhaps even just to give the scene a more subdued tone or an impression of an uninvolved observer.

Changing an action to a thought

In some cases, the character's action can be translated into a thought. This would typically change the third person pronoun to the first person pronoun. E.g.:

She wondered how long she had been waiting for the bus.

How long have I been waiting for this bus?

She struggled to suppress a bored yawn.

This lecture is so boring. I can barely keep from yawning.

Allowing the reader to read the character's thoughts would work against building a sense of separation or of mystery between the reader and the character or even between the character and others (as if the reader's knowledge leaks to the other characters).

Use filler material

Finally, it is sometimes possible to delay the introduction of the character in the sentence. While this does not remove the nominative pronoun, it reduces the obviousness of its use and the feeling of repetition. E.g.:

She smiled as Sharon came over to her table.

As Sharon approached her table, she smiled.

She pushed fiercely against the stuck door. She knew her stalker was close behind. The door was jammed; she pushed against it fiercely, knowing her stalker was close behind.

Even interposing a sentence describing the setting can lessen the impression of repetition. E.g.:

She got up and walked alone to the bathroom before leaving.

While a few couples still cuddled in less lit spots, the party was winding down. She got up and walked alone to the bathroom before leaving.

She walked over to the buffet table and started to reload her plate.

The buffet table was fully stocked with comfort foods. She walked over and started to reload her plate.

This kind of change can easily change the pace of the text or distract from the important action. However, it can also be used to provide a richer context for the action.

As noted, these kinds of changes can alter the tone or pace of the text. Even when such a change would work somewhat against the intended tone or pace, it may offer a better tradeoff than repeatedly starting sentences with a nominative pronoun.

It should also be noted that frequent use of nominative pronouns is natural and can be less visible to the reader than one might expect from an abstract analysis. Using the character's name instead of a pronoun can introduce a distance between the reader and the character or emphasize the particular character's action. E.g.:

She pulled apart the drapes. She had never seen the street so peaceful.

Sarah pulled apart the drapes. Sarah had never seen the street so peaceful.

The latter makes the opening of the drapes a stronger, more intentional, more personal action and emphasizes Sarah's perception more and the peacefulness of the street less.

1 Oops! On re-reading the question (and noting it was not tagged fiction ), it seems the asker may be writing non-fiction (e.g., a biography). This would call for a somewhat different answer, though most of the points seem to still have some value for non-fiction. – user5232 Commented May 4, 2014 at 1:58
3 This was very helpful. Thank you! I added the fiction tag to the question. – Ari Commented May 5, 2014 at 15:33

you could use descriptive words like, The brunette, The shy girl, The freckled girl.

2 I would advise against that as this might end up confusing the reader if you're still talking about the same person. Maybe pick one, at most two alternative ways of referring to each character, then use them as appropriate. – Llewellyn Commented Mar 21, 2020 at 16:35
It's not only confusing but also very purple and gets on reader's nerves fast. Don't use descriptions in place of name or pronoun unless you have a specific reason to draw attention to a particular trait of the character at that very moment. – Divizna Commented Nov 18, 2022 at 19:06

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The four main types of essay | Quick guide with examples

The Four Main Types of Essay | Quick Guide with Examples

Published on September 4, 2020 by Jack Caulfield . Revised on July 23, 2023.

An essay is a focused piece of writing designed to inform or persuade. There are many different types of essay, but they are often defined in four categories: argumentative, expository, narrative, and descriptive essays.

Argumentative and expository essays are focused on conveying information and making clear points, while narrative and descriptive essays are about exercising creativity and writing in an interesting way. At university level, argumentative essays are the most common type.

Essay type	Skills tested	Example prompt
		Has the rise of the internet had a positive or negative impact on education?
		Explain how the invention of the printing press changed European society in the 15th century.
		Write about an experience where you learned something about yourself.
		Describe an object that has sentimental value for you.

In high school and college, you will also often have to write textual analysis essays, which test your skills in close reading and interpretation.

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Argumentative essays, expository essays, narrative essays, descriptive essays, textual analysis essays, other interesting articles, frequently asked questions about types of essays.

An argumentative essay presents an extended, evidence-based argument. It requires a strong thesis statement —a clearly defined stance on your topic. Your aim is to convince the reader of your thesis using evidence (such as quotations ) and analysis.

Argumentative essays test your ability to research and present your own position on a topic. This is the most common type of essay at college level—most papers you write will involve some kind of argumentation.

The essay is divided into an introduction, body, and conclusion:

The introduction provides your topic and thesis statement
The body presents your evidence and arguments
The conclusion summarizes your argument and emphasizes its importance

The example below is a paragraph from the body of an argumentative essay about the effects of the internet on education. Mouse over it to learn more.

A common frustration for teachers is students’ use of Wikipedia as a source in their writing. Its prevalence among students is not exaggerated; a survey found that the vast majority of the students surveyed used Wikipedia (Head & Eisenberg, 2010). An article in The Guardian stresses a common objection to its use: “a reliance on Wikipedia can discourage students from engaging with genuine academic writing” (Coomer, 2013). Teachers are clearly not mistaken in viewing Wikipedia usage as ubiquitous among their students; but the claim that it discourages engagement with academic sources requires further investigation. This point is treated as self-evident by many teachers, but Wikipedia itself explicitly encourages students to look into other sources. Its articles often provide references to academic publications and include warning notes where citations are missing; the site’s own guidelines for research make clear that it should be used as a starting point, emphasizing that users should always “read the references and check whether they really do support what the article says” (“Wikipedia:Researching with Wikipedia,” 2020). Indeed, for many students, Wikipedia is their first encounter with the concepts of citation and referencing. The use of Wikipedia therefore has a positive side that merits deeper consideration than it often receives.

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An expository essay provides a clear, focused explanation of a topic. It doesn’t require an original argument, just a balanced and well-organized view of the topic.

Expository essays test your familiarity with a topic and your ability to organize and convey information. They are commonly assigned at high school or in exam questions at college level.

The introduction of an expository essay states your topic and provides some general background, the body presents the details, and the conclusion summarizes the information presented.

A typical body paragraph from an expository essay about the invention of the printing press is shown below. Mouse over it to learn more.

The invention of the printing press in 1440 changed this situation dramatically. Johannes Gutenberg, who had worked as a goldsmith, used his knowledge of metals in the design of the press. He made his type from an alloy of lead, tin, and antimony, whose durability allowed for the reliable production of high-quality books. This new technology allowed texts to be reproduced and disseminated on a much larger scale than was previously possible. The Gutenberg Bible appeared in the 1450s, and a large number of printing presses sprang up across the continent in the following decades. Gutenberg’s invention rapidly transformed cultural production in Europe; among other things, it would lead to the Protestant Reformation.

A narrative essay is one that tells a story. This is usually a story about a personal experience you had, but it may also be an imaginative exploration of something you have not experienced.

Narrative essays test your ability to build up a narrative in an engaging, well-structured way. They are much more personal and creative than other kinds of academic writing . Writing a personal statement for an application requires the same skills as a narrative essay.

A narrative essay isn’t strictly divided into introduction, body, and conclusion, but it should still begin by setting up the narrative and finish by expressing the point of the story—what you learned from your experience, or why it made an impression on you.

Mouse over the example below, a short narrative essay responding to the prompt “Write about an experience where you learned something about yourself,” to explore its structure.

Since elementary school, I have always favored subjects like science and math over the humanities. My instinct was always to think of these subjects as more solid and serious than classes like English. If there was no right answer, I thought, why bother? But recently I had an experience that taught me my academic interests are more flexible than I had thought: I took my first philosophy class.

Before I entered the classroom, I was skeptical. I waited outside with the other students and wondered what exactly philosophy would involve—I really had no idea. I imagined something pretty abstract: long, stilted conversations pondering the meaning of life. But what I got was something quite different.

A young man in jeans, Mr. Jones—“but you can call me Rob”—was far from the white-haired, buttoned-up old man I had half-expected. And rather than pulling us into pedantic arguments about obscure philosophical points, Rob engaged us on our level. To talk free will, we looked at our own choices. To talk ethics, we looked at dilemmas we had faced ourselves. By the end of class, I’d discovered that questions with no right answer can turn out to be the most interesting ones.

The experience has taught me to look at things a little more “philosophically”—and not just because it was a philosophy class! I learned that if I let go of my preconceptions, I can actually get a lot out of subjects I was previously dismissive of. The class taught me—in more ways than one—to look at things with an open mind.

A descriptive essay provides a detailed sensory description of something. Like narrative essays, they allow you to be more creative than most academic writing, but they are more tightly focused than narrative essays. You might describe a specific place or object, rather than telling a whole story.

Descriptive essays test your ability to use language creatively, making striking word choices to convey a memorable picture of what you’re describing.

A descriptive essay can be quite loosely structured, though it should usually begin by introducing the object of your description and end by drawing an overall picture of it. The important thing is to use careful word choices and figurative language to create an original description of your object.

Mouse over the example below, a response to the prompt “Describe a place you love to spend time in,” to learn more about descriptive essays.

On Sunday afternoons I like to spend my time in the garden behind my house. The garden is narrow but long, a corridor of green extending from the back of the house, and I sit on a lawn chair at the far end to read and relax. I am in my small peaceful paradise: the shade of the tree, the feel of the grass on my feet, the gentle activity of the fish in the pond beside me.

My cat crosses the garden nimbly and leaps onto the fence to survey it from above. From his perch he can watch over his little kingdom and keep an eye on the neighbours. He does this until the barking of next door’s dog scares him from his post and he bolts for the cat flap to govern from the safety of the kitchen.

With that, I am left alone with the fish, whose whole world is the pond by my feet. The fish explore the pond every day as if for the first time, prodding and inspecting every stone. I sometimes feel the same about sitting here in the garden; I know the place better than anyone, but whenever I return I still feel compelled to pay attention to all its details and novelties—a new bird perched in the tree, the growth of the grass, and the movement of the insects it shelters…

Sitting out in the garden, I feel serene. I feel at home. And yet I always feel there is more to discover. The bounds of my garden may be small, but there is a whole world contained within it, and it is one I will never get tired of inhabiting.

Though every essay type tests your writing skills, some essays also test your ability to read carefully and critically. In a textual analysis essay, you don’t just present information on a topic, but closely analyze a text to explain how it achieves certain effects.

Rhetorical analysis

A rhetorical analysis looks at a persuasive text (e.g. a speech, an essay, a political cartoon) in terms of the rhetorical devices it uses, and evaluates their effectiveness.

The goal is not to state whether you agree with the author’s argument but to look at how they have constructed it.

The introduction of a rhetorical analysis presents the text, some background information, and your thesis statement; the body comprises the analysis itself; and the conclusion wraps up your analysis of the text, emphasizing its relevance to broader concerns.

The example below is from a rhetorical analysis of Martin Luther King Jr.’s “I Have a Dream” speech . Mouse over it to learn more.

King’s speech is infused with prophetic language throughout. Even before the famous “dream” part of the speech, King’s language consistently strikes a prophetic tone. He refers to the Lincoln Memorial as a “hallowed spot” and speaks of rising “from the dark and desolate valley of segregation” to “make justice a reality for all of God’s children.” The assumption of this prophetic voice constitutes the text’s strongest ethical appeal; after linking himself with political figures like Lincoln and the Founding Fathers, King’s ethos adopts a distinctly religious tone, recalling Biblical prophets and preachers of change from across history. This adds significant force to his words; standing before an audience of hundreds of thousands, he states not just what the future should be, but what it will be: “The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.” This warning is almost apocalyptic in tone, though it concludes with the positive image of the “bright day of justice.” The power of King’s rhetoric thus stems not only from the pathos of his vision of a brighter future, but from the ethos of the prophetic voice he adopts in expressing this vision.

Literary analysis

A literary analysis essay presents a close reading of a work of literature—e.g. a poem or novel—to explore the choices made by the author and how they help to convey the text’s theme. It is not simply a book report or a review, but an in-depth interpretation of the text.

Literary analysis looks at things like setting, characters, themes, and figurative language. The goal is to closely analyze what the author conveys and how.

The introduction of a literary analysis essay presents the text and background, and provides your thesis statement; the body consists of close readings of the text with quotations and analysis in support of your argument; and the conclusion emphasizes what your approach tells us about the text.

Mouse over the example below, the introduction to a literary analysis essay on Frankenstein , to learn more.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

Ad hominem fallacy
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At high school and in composition classes at university, you’ll often be told to write a specific type of essay , but you might also just be given prompts.

Look for keywords in these prompts that suggest a certain approach: The word “explain” suggests you should write an expository essay , while the word “describe” implies a descriptive essay . An argumentative essay might be prompted with the word “assess” or “argue.”

The vast majority of essays written at university are some sort of argumentative essay . Almost all academic writing involves building up an argument, though other types of essay might be assigned in composition classes.

Essays can present arguments about all kinds of different topics. For example:

In a literary analysis essay, you might make an argument for a specific interpretation of a text
In a history essay, you might present an argument for the importance of a particular event
In a politics essay, you might argue for the validity of a certain political theory

An argumentative essay tends to be a longer essay involving independent research, and aims to make an original argument about a topic. Its thesis statement makes a contentious claim that must be supported in an objective, evidence-based way.

An expository essay also aims to be objective, but it doesn’t have to make an original argument. Rather, it aims to explain something (e.g., a process or idea) in a clear, concise way. Expository essays are often shorter assignments and rely less on research.

The key difference is that a narrative essay is designed to tell a complete story, while a descriptive essay is meant to convey an intense description of a particular place, object, or concept.

Narrative and descriptive essays both allow you to write more personally and creatively than other kinds of essays , and similar writing skills can apply to both.

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Rethinking Schools

Non-Restricted Content

“The Best Teacher I’ve Ever Had”

by Patrick Esty

Ms. Johnson was the name, or at least that’s what I think it was. It was such a long time ago—fourth grade, I think—but I still remember her because she had such a powerful influence on my life. When I started school, I was an average person with just enough enthusiasm as everyone else on the block, but after the fourth grade, I was full of energy. Ms. Johnson want you to succeed and supported you as an individual person to be the best you would be. I remember the very first week of the school year. It is so vivid in my mind.

“You better GET in that chair right away!” she yelled, and I sat down as if I were mounting a horse. She went on and pointed me out with her pencil while taking attendance. “Do you know how to sit BOY! You better GET UP and TRY again!”

After taking attendance, she gave one of the most important speeches I have ever listened to in my life. “Hello, my name is Ms. Johnson – not ‘Miss,’ not ‘Johnson,’ ‘John,’ ‘teacher,’ or ‘son,’ — Ms. Johnson. You raise your hand when you want to talk and ask me if you want to move, and when i say ‘Jump,’ you better ask me, ‘How high?’” She sure knew how to discipline her pupils, but she had another side to her that was more civilized and controlled. THis side was much stronger than her first.

“… But there’s one thing you all have to learn before the year starts. It’s a thing you were born with, ‘common sense.’ Everybody has it, because if you don’t have it, you weren’t born!”

Then someone in the class asked her why she walked on a crutch. She answered in a low voice. “I broke my left leg trying to stop a fight. That’s what happens when people don’t use their common sense. They injure others as well as themselves.”

I think Ms. Johnson was the most powerful force in Engleberg Elementary School. Everyone who went through the school could tell you bout her. She taught everyone self-control. It is rare if you ever see someone from Engleberg start a fight or be involved in a crime. In fact, if it weren’t for her, many people I know wouldn’t be in school any more. She was not only a good teacher who taught discipline, but she was a great teacher who knew math, reading and writing skills. Being taught by Ms. Johnson is an experience no one forgets.

One day, she got all of the students to enter a writing contest. I, being a lazy person since kindergarten, didn’t do it until the very last day it was due. You should have seen it! I scribbled together some really interesting stuff in those 24-hours, and knowing Ms. Johnson, I thought she wouldn’t like it at all. Boy, was I surprised.

“Patrick,” she said to me in private as I came to school one morning, “that was a very good essay you wrote.” My mouth hung wide open. “Really!” I said with a excited voice. “I thought it was terrible.” “No. 1 think you have some talent and I’m going to enter it in the city-level for competition.”

She did. Three months later, a gold medal came into my hands and she congratulated me. “You never know how good you are until you try. You are more than you think you are, Patrick. I want to see you do more…”

When I brought that gold medal home with me that night, my parents were “proud, proud, PROUD!” I could almost cry. I could almost laugh. I could hug Ms. Johnson, the one-legged lady, and only thank her for her tremendous support to raise my ego.

Today, I have received two good citizenship awards, hundreds of class achievements and perfect attendance certificates, and will graduate as class valedictorian in high school. Just think. Without her, I would be just an average guy. She helped me in my life tremendously.

by Renate Gray

Wanda Raven, Ms. Raven to those of us who are her students, is who I call the “Best Teacher” I’ve ever had. Her teaching style, personality and her desire to help me to succeed are the three qualities that l admire most about her.

Teaching styles vary greatly among teachers of different subjects as well as teachers of different grade levels. I was first introduced to Ms. Raven my sophomore year of high school when I became a student in her biology class. In the beginning she was like any other teacher, same grading scale, same class objectives. Yet after the first couple of days I could tell that she was different. When teaching she did her best to make us understand, not help us understand. If she felt you needed help she would allow time in her schedule to fit you in. being in a school where there is a lot of competition among the students made me seek her out even for the smallest problems. She was always there to help me and make me learn.

When you picture how many people you come in contact with and how many teachers you’ve had, still have and will have in the future you realize how impersonal the relationships are. Ms. Raven’s intent seemed to be that she wanted to get to know each student so she could help with school or personal problems. I happened to stop to talk to her one day and that’s when I discovered what a nice personality she had. She greets me every time I see her and shares a few words. It was that sophomore year that I began having problems that I needed to talk about. I decided to seek some advice and help. Ms. Raven was always around to talk to listen. Her ability to listen is one part of her personality that stands out the most. She always found time to listen and no matter what was said she took it all to heart’, even the smallest, silliest problem. She never repeated what was said. Giving good, sound advice and helping to make me talk things out are two more qualities that I admire. Though most teachers would stop there, she didn’t. When she needed to talk she sought me out and confided a lot in me. Some might take that as a burden, I didn’t. I felt that if she could listen to me then I could do the same. Never have I had a teacher like that.

When the school year ends, I usually have no further contact with my teachers. Ms. Raven came to me again my year of high school and asked if I needed help. I shared a few of my career goals with her and found out that she had a lot of knowledge from past experience about one of my future goals. Whenever I had a question or a doubt about something relating to school or college I could always find her and discuss it with her. Whenever she’d come across an article or literature pertaining to a career she would make sure I received a copy of it. These types of things express a desire to help me succeed and I’m grateful for that.

I’d like to finish by saying that I’ve never before come across a person like Ms. Raven. Her personality outshines those of most teachers. Her desire for my success in life seems only surpassed by my parents, family and the staff of Upward Bound. Her ability to teach and her process of teaching is a great help to me and to others. To me Ms. Raven is the Best Teacher” I’ve ever had.

by Dwight Thomas

During all the years of my education to date, there have been many teachers that have got me to the level of education I’ve reached today. I’m going to tell you about the best teacher I think I will ever have. Mr. Birmingham was the greatest influence on me because the way he taught the class was at a level where everybody could catch the topic of discussion. He would help you out with problems in and out of school. He also would tell you his feelings straight from the heart. Mr. Birmingham’s teachings were in a “class” all by themselves.

When you entered seventh hour history, you knew everything that was going on. “Mr. Birm,” as we would call him, refused to let a person get behind the rest of the class.

He went by the motto, “If the ship is hit, everyone on board goes down.” Mr. Birm would go back to items to help that unfortunate student catch on. If that didn’t work, we would read the chapter over until everyone caught on. Mr. Birm not only cared about studies, but he would be there for you when it was a problem out of school.

If a student ever had a problem and had no one to turn to, you could always turn to room 337. Mr. Birm would be there to discuss even the most delicate problem in a mature and understanding manner. If you needed to borrow money, he would give it to you with absolutely no complaints. I know he’s helped me out a number of times. You may think because he was nice he was a push-over, I doubt it highly.

If there is one thing I remember very well about Mr. Birm, it was that he was never afraid to express his feelings. If he saw something done he didn’t like, he’d tell you. He couldn’t stand for horsing around. I don’t think he ever felt sorry for a student he told off either. This shows me he not only has the utmost respect for the students, but he respected himself. These are the characteristics of a great teacher.

I will remember Mr. Birmingham for the rest of my life, for he has taught me many things. Respect for not only others but myself. To help others as I would want them to help me. He also did a good job of teaching history, too. Mr. Birmingham is definitely my all-time best teacher.

Included in:

Volume 2, No.1

Arts & culture.

The art and life of Mark di Suvero

Photograph of light on water by Aayugoyal . Licensed under CC0 4.0.

I encountered Joan Didion’s famous line about why she writes—“entirely to find out what I’m thinking”—many times before I read the essay it comes from, and was reminded once again to never assume you know what anything means out of context. I had always thought the line was about her essays, about writing nonfiction to discover her own beliefs—because of course the act of making an argument clear on the page brings clarity to the writer too. She may have believed that; she may have thought it a truth too obvious to state. In any case, it’s not what she meant. She was talking about why she writes fiction :

I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means … Why did the oil refineries around Carquinez Strait seem sinister to me in the summer of 1956? Why have the night lights in the Bevatron burned in my mind for twenty years? What is going on in these pictures in my mind?

These pictures, Didion writes, are “images that shimmer around the edges,” reminiscent of “an illustration in every elementary psychology book showing a cat drawn by a patient in varying stages of schizophrenia.” (I know these frightening psychedelic cats, the art of Louis Wain, very well—I saw them as a child, in just such a book, which I found on my parents’ shelves.) Play It As It Lays , she explains, began “with no notion of ‘character’ or ‘plot’ or even ‘incident,’” but with pictures. One was of a woman in a short white dress walking through a casino to make a phone call; this woman became Maria. The Bevatron (a particle accelerator at Berkeley Lab) was one of the pictures in her mind when she began writing A Book of Common Prayer . Fiction, for Didion, was the task of finding “the grammar in the picture,” the corresponding language: “The arrangement of the words matters, and the arrangement you want can be found in the picture in your mind. The picture dictates the arrangement.” This is a much stranger reason to write than to clarify an argument. It makes me think of the scenes that I sometimes see just before I fall asleep. I know I’m still awake—they’re not as immersive as dreams—but they seem to be something that’s happening to me, not something I’m creating. I’m not manning the projector.

Nabokov spoke of shimmers too. “Literature was born on the day when a boy came crying wolf, wolf and there was no wolf behind him,” he said in a lecture in 1948. “Between the wolf in the tall grass and the wolf in the tall story, there is a shimmering go-between.” In this view, it seems to me, the writer’s not the wraith who can pass between realms of reality and fantasy. The art itself is the wraith, which the artist only grasps at. Elsewhere, Nabokov writes that inspiration comes in the form of “a prefatory glow, not unlike some benign variety of the aura before an epileptic attack.” In his Paris Review interview, Martin Amis describes the urge to write this way: “What happens is what Nabokov described as a throb. A throb or a glimmer, an act of recognition on the writer’s part. At this stage the writer thinks, Here is something I can write a novel about.” Amis also saw images, a sudden person in a setting, as if a pawn had popped into existence on a board: “With Money , for example, I had an idea of a big fat guy in New York, trying to make a film. That was all.” Likewise for Don DeLillo: “The scene comes first, an idea of a character in a place. It’s visual, it’s Technicolor—something I see in a vague way. Then sentence by sentence into the breach.” For these writers that begin from something like hallucination, the novel is a universe that justifies the image, a replica of Vegas to be built out of words.

William Faulkner wrote The Sound and the Fury five separate times, “trying to tell the story, to rid myself of the dream.” “It began with a mental picture,” he told Jean Stein in 1956, “of the muddy seat of a little girl’s drawers in a pear tree.” He couldn’t seem to get it right, to find the picture’s grammar, or hear it. (According to Didion, “It tells you. You don’t tell it.”) This was part of the work, this getting it wrong—Faulkner believed failure was what kept writers going, and that if you ever could write something equal to your vision, you’d kill yourself. In his own Paris Review interview, Ted Hughes tells a story about Thomas Hardy’s vision of a novel—“all the characters, many episodes, even some dialogue—the one ultimate novel that he absolutely had to write”—which came to him up in an apple tree. This may be apocryphal, but I hope it isn’t. (I imagine him on a ladder, my filigree on the myth.) By the time he came down “the whole vision had fled,” Hughes said, like an untold dream. We have to write while the image is shimmering.

There is often something compulsive about the act of writing, as if to cast out invasive thoughts. Kafka said, “God doesn’t want me to write, but I—I must.” Hughes wondered if poetry might be “a revealing of something that the writer doesn’t actually want to say but desperately needs to communicate, to be delivered of.” It’s the fear of discovery, then, that makes poems poetic, a way of telling riddles in the confession booth. “The writer daren’t actually put it into words, so it leaks out obliquely,” Hughes said. Speaking of Sylvia Plath, in 1995, he added, “You can’t overestimate her compulsion to write like that. She had to write those things—even against her most vital interests. She died before she knew what The Bell Jar and the Ariel poems were going to do to her life, but she had to get them out.” Jean Rhys also looked at writing as a purgative process: “I would write to forget, to get rid of sad moments.” Some reach a point where the writing is almost involuntary. The novelist Patrick Cottrell has said he only writes when he absolutely has to. “I have to feel borderline desperate,” he said, and “going long periods without writing” helps feed the desperation. Ann Patchett, in an essay called “Writing and a Life Lived Well,” writes that working on a novel is like living a double life, “my own and the one I create.” It’s much easier not to be working on a novel—I sometimes hear novelists speak of a work in progress as an all-consuming crisis—but the ease of not working, after a while, feels cheap: “this life lived only for myself takes on a certain lightness that I find almost unbearable.”

Some writers write in the name of Art in general—James Salter for instance: “A great book may be an accident, but a good one is a possibility, and it is thinking of that that one writes. In short, to achieve.” Eudora Welty said she wrote “for it , for the pleasure of it .” Or as Joy Williams puts it, in a wonderfully strange essay called “Uncanny the Singing that Comes from Certain Husks,” “The writer doesn’t write for the reader. He doesn’t write for himself, either. He writes to serve … something. Somethingness. The somethingness that is sheltered by the wings of nothingness—those exquisite, enveloping, protecting wings.” Is that somethingness the wraith, the shimmering go-between? Or a godlike observer? “The writer writes to serve,” she writes, “that great cold elemental grace which knows us.”

Though Faulkner felt a duty toward the work that superseded all other ethics (“If a writer has to rob his mother, he will not hesitate; the ‘Ode on a Grecian Urn’ is worth any number of old ladies”!), he also found writing fun, at least when it was new. David Foster Wallace, in a piece from the 1998 anthology Why I Write , edited by Will Blythe, agrees: “In the beginning, when you first start out trying to write fiction, the whole endeavor’s about fun … You’re writing almost wholly to get yourself off.” (He’s not the only writer in the volume to describe writing as physical, almost sexual pleasure; William Vollmann claims he would write just for thrills but also likes getting paid, “like a good prostitute.”) But once you’ve been published, the innocent pleasure is tainted. “The motive of pure personal fun starts to get supplanted by the motive of being liked,” Wallace writes, and the fun “is offset by a terrible fear of rejection.” Beyond the pleasure in itself, the fun for fun’s sake, writing for fun wards off ego and blinding vanity.

For every author who finds writing fun there is one for whom it’s pain, for whom Nabokov’s shimmerings would not be benign but premonitions of the suffering. Ha Jin said, “To write is to suffer.” Spalding Gray said, “Writing is like a disease.” Truman Capote, in his introduction to The Collected Works of Jane Bowles , and perhaps a particularly self-pitying mood, called writing “the hardest work around.” Annie Dillard said that “writing sentences is difficult whatever their subject”—and further, “It is no less difficult to write sentences in a recipe than sentences in Moby-Dick . So you might as well write Moby-Dick .” (Annie Dillard says such preposterous things—“Some people eat cars”!) It’s fashionable now to object on principle to the idea that writing is hard. Writing isn’t hard, this camp says; working in coal mines is hard. Having a baby is hard. But this is a category error. Writing isn’t hard the way physical labor, or recovery from surgery, is hard; it’s hard the way math or physics is hard, the way chess is hard. What’s hard about art is getting any good—and then getting better. What’s hard is solving problems with infinite solutions and your finite brain.

Then there’s the question of whether the pain comes from writing or the writing comes from pain. “I’ve never written when I was happy,” Jean Rhys said. “I didn’t want to … When I think about it, if I had to choose, I’d rather be happy than write.” Bud Smith has said he’s only prolific because he ditched all his other hobbies, so all he can do is write—but “people are probably better off with a yard, a couple kids, and sixteen dogs.” Here’s Williams again: “Writing has never given me any pleasure.” And then there’s Dorothy Parker, simply: “I hate writing.” I love writing, but I hate almost everything about being a writer. The striving, the pitching, the longueurs and bureaucracy of publishing, the professional jealousy, the waiting and waiting and waiting for something to happen that might make it all feel worth it. But when I’m actually writing, I’m happy.

Didion borrowed the title of her lecture “Why I Write” from George Orwell, who in his essay of this name outlined four potential reasons why anyone might write: “sheer egoism” (Gertrude Stein claimed she wrote “for praise,” like Wallace in his weaker moments); “aesthetic enthusiasm” or the mere love of beauty (William Gass: “The poet, every artist, is a maker, a maker whose aim is to make something supremely worthwhile, to make something inherently valuable in itself”); “historical impulse,” or “desire to see things as they are, to find out true facts and store them up for the use of posterity”; and finally “political purpose.” This last cause was what mattered to Orwell. “Every line of serious work that I have written since 1936”—he was writing this ten years later—“has been written, directly or indirectly, against totalitarianism and for democratic Socialism, as I understand it.” He considered it “nonsense, in a period like our own, to think that one can avoid writing of such subjects.”

I’m unsure if Orwell meant that avoiding moral subjects was an unthinkable error, or a true impossibility, in the sense that one can’t escape the spirit of the age. Was any post-war novel, any novel written or even read in 1946, a war novel ineluctably? Kazuo Ishiguro has said he never writes to assert a moral: “I like to highlight some aspect of being human. I’m not really trying to say, so don’t do this, or do that. I’m saying, this is how it feels to me.” But having a moral, a didactic lesson, and being moral are different. Writers might try to avoid an argument and fail, even if it is less a thesis than an emergent property, a slow meaning that arises through cause and effect or mere juxtaposition. Ishiguro’s novels, in the course of unfolding, do triangulate a worldview. John Gardner would say, if the work is didactic, that means it’s too simple: “The didactic writer is anything but moral because he is always simplifying the argument.” (He also said, hilariously, “If you believe that life is fundamentally a volcano full of baby skulls, you’ve got two main choices as an artist: You can either stare into the volcano and count the skulls for the thousandth time and tell everybody, There are the skulls; that’s your baby, Mrs. Miller. Or you can try to build walls so that fewer baby skulls go in.”) The book can also stand in as an argument for its own existence. Toni Morrison wrote her first novel to fill what she saw as a treacherous gap in literature, to create a kind of book that she had always wanted to read but couldn’t find—a book about “those most vulnerable, most undescribed, not taken seriously little black girls.” Her ambition was not to make white people empathize with black girls. “I’m writing for black people,” Morrison once said, “in the same way that Tolstoy was not writing for me.”

Only one writer in the Blythe anthology, a magazine writer named Mark Jacobson, claims he does it “for the money.” (“What other reason could there be? For my soul? Gimme a break.”) No one in the book claims they do it for fame, though the luster of fame is tempting, distracting. In a TV documentary about Madonna that I saw many years ago, she said she always knew she wanted to be famous, and didn’t really care how she got there—music was just the path that worked out. This is not so different from Susan Sontag, who was also obsessed with fame from an early age. Plath too made such confessions in her diary. Capote often said he always knew he would be rich and famous. I think the wish for fame is reasonable, since practically there’s not much money in writing unless you are famous. For most the rewards are meager. As Salter writes, “So much praise is given to insignificant things that there is hardly any sense in striving for it.” The thing about success, good fortune, and maybe even happiness is this: You can see that there are people who “deserve” whatever you have as much as you do but have less, as well as people who “deserve” it less or equally and have more. So, at the same time, you want more and feel you don’t deserve what you have. It’s a source of anxiety, guilt, and resentment and troubles the very idea of what one “deserves.” In the end I believe you don’t deserve anything; you get what you get.

I’ve been collecting these theories of why writers write because so many writers have written about it. I love reading writers on writing. I love writers on their bullshit. During the first year of the pandemic, I started listening obsessively to interview podcasts. At first this was strategic. I had a book coming out, and I thought of them as training; I thought they would help me get better at talking about my own book. But I was also lonely. I wasn’t going to readings or parties, and I missed writers’ voices. The practice has diminishing comforts. After a while most writers sound the same, and some days, after bingeing on writers, I can start to feel pointless, interchangeable. Faulkner said he disliked giving interviews because the artist was “of no importance”: “If I had not existed, someone else would have written me, Hemingway, Dostoyevsky, all of us.” (And yet he named himself as one of the five most important authors of the twentieth century; there are limits to humility.) Some days I think the very question is banal, like photos of a writer’s “workspace.” They’re all just desks! Why write? Why do anything? Why not write? It’s the same as the impulse to make a handprint in wet concrete or trace your finger in the mist on a window. What you wrote, as a kid, on a window was the simplest version of the vision. Why that vision? Why that vision, and why you?

Tillie Olsen, in her 1965 essay “Silences,” called the not-writing that has to happen sometimes—“what Keats called agonie ennuyeuse (the tedious agony)”—instead “natural silences,” or “necessary time for renewal, lying fallow, gestation.” Breaks or blocks, times when the author has nothing to say or can only repeat themselves, are the opposite of “the unnatural thwarting of what struggles to come into being, but cannot.” The unnatural silence of writers is suppression of the glimmer. This is Melville who, in Olsen’s words, was “damned by dollars into a Customs House job; to have only weary evenings and Sundays left for writing.” And likewise Hardy, who stopped writing novels after “the Victorian vileness to his Jude the Obscure ,” Olsen writes, though he lived another thirty years—thirty years gone, gone as that novel in the apple tree. She quotes a line from his poem “The Missed Train”: “Less and less shrink the visions then vast in me.” And this same fate came to Olsen herself, who wrote what she wrote in “snatches of time” between jobs and motherhood, until “there came a time when this triple life was no longer possible. The fifteen hours of daily realities became too much distraction for the writing.” I read Olsen’s essay during a period in my life when stress from my day job, among other sources, was making it especially difficult to write. I didn’t have the energy to do both jobs well, but I couldn’t choose between them, so I did both badly. Like Olsen, I’d lost “craziness of endurance.”

James Thurber said “the characteristic fear of the American writer” is aging—we fear we’ll get old and die or simply lose the mental capacity to do the work we want to do, to make our little bids for immortality. Of late I’ve been obsessed with the idea of a “body of work.” I’ve gotten it into my head that seven books, even short, minor books, will constitute a body of work, my body of work. When I finish, if I finish, seven books I can retire from writing, or die. But how long can the corpus really outlast the corpse? I heard Nicholson Baker on a podcast say his grandfather, or maybe some uncle or other, was a well-known writer in his day and is now totally unknown. Unless we’re very, very famous, we’ll be forgotten that quickly, he said, so you might as well write what you want. I think about that a lot. Since I don’t have children, I have more time to write than Tillie Olsen did. But I don’t have that built-in generation of buffer between my death and obscurity. At least I won’t be around to know I’m not known. DeLillo again: “We die indoors, and alone.”

That year when I walked so much while listening to writers that I wore clean holes through my shoes, I kept asking myself why I write—or more so, why my default state is writing, since on any given day I might be writing for morality, Art, or attention, for just a little money. (I can’t go very long without writing, though I can go for a while without writing something good.) I think I write to think—not to find out what I think; surely I know what I already think—but to do better thinking. Staring at my laptop screen makes me better at thinking. Even thinking about writing makes me better at thinking. And when I’m thinking well, I can sometimes write that rare, rare sentence or paragraph that feels exactly right, only in the sense that I found the exact right sequence of words and punctuation to express my own thought—the grammar in the thought. That rightness feels so good, like sinking an unlikely shot in pool. The ball is away and apart from you, but you feel it in your body, the knowledge of causation. Never mind luck or skill or free will, you caused that effect—you’re alive!

Elisa Gabbert is the author of six collections of poetry, essays, and criticism, most recently Normal Distance, out from Soft Skull in September 2022, and The Unreality of Memory & Other Essays. She writes the “On Poetry” column for the New York Times, a nd her work has appeared recently in Harper’s, The Atlantic, The New York Review of Books, and The Believer.

The Essay: History and Definition

Attempts at Defining Slippery Literary Form

An Introduction to Punctuation
Ph.D., Rhetoric and English, University of Georgia
M.A., Modern English and American Literature, University of Leicester
B.A., English, State University of New York

"One damned thing after another" is how Aldous Huxley described the essay: "a literary device for saying almost everything about almost anything."

As definitions go, Huxley's is no more or less exact than Francis Bacon's "dispersed meditations," Samuel Johnson's "loose sally of the mind" or Edward Hoagland's "greased pig."

Since Montaigne adopted the term "essay" in the 16th century to describe his "attempts" at self-portrayal in prose , this slippery form has resisted any sort of precise, universal definition. But that won't an attempt to define the term in this brief article.

In the broadest sense, the term "essay" can refer to just about any short piece of nonfiction -- an editorial, feature story, critical study, even an excerpt from a book. However, literary definitions of a genre are usually a bit fussier.

One way to start is to draw a distinction between articles , which are read primarily for the information they contain, and essays, in which the pleasure of reading takes precedence over the information in the text . Although handy, this loose division points chiefly to kinds of reading rather than to kinds of texts. So here are some other ways that the essay might be defined.

Standard definitions often stress the loose structure or apparent shapelessness of the essay. Johnson, for example, called the essay "an irregular, indigested piece, not a regular and orderly performance."

True, the writings of several well-known essayists ( William Hazlitt and Ralph Waldo Emerson , for instance, after the fashion of Montaigne) can be recognized by the casual nature of their explorations -- or "ramblings." But that's not to say that anything goes. Each of these essayists follows certain organizing principles of his own.

Oddly enough, critics haven't paid much attention to the principles of design actually employed by successful essayists. These principles are rarely formal patterns of organization , that is, the "modes of exposition" found in many composition textbooks. Instead, they might be described as patterns of thought -- progressions of a mind working out an idea.

Unfortunately, the customary divisions of the essay into opposing types -- formal and informal, impersonal and familiar -- are also troublesome. Consider this suspiciously neat dividing line drawn by Michele Richman:

Post-Montaigne, the essay split into two distinct modalities: One remained informal, personal, intimate, relaxed, conversational and often humorous; the other, dogmatic, impersonal, systematic and expository .

The terms used here to qualify the term "essay" are convenient as a kind of critical shorthand, but they're imprecise at best and potentially contradictory. Informal can describe either the shape or the tone of the work -- or both. Personal refers to the stance of the essayist, conversational to the language of the piece, and expository to its content and aim. When the writings of particular essayists are studied carefully, Richman's "distinct modalities" grow increasingly vague.

But as fuzzy as these terms might be, the qualities of shape and personality, form and voice, are clearly integral to an understanding of the essay as an artful literary kind.

Many of the terms used to characterize the essay -- personal, familiar, intimate, subjective, friendly, conversational -- represent efforts to identify the genre's most powerful organizing force: the rhetorical voice or projected character (or persona ) of the essayist.

In his study of Charles Lamb , Fred Randel observes that the "principal declared allegiance" of the essay is to "the experience of the essayistic voice." Similarly, British author Virginia Woolf has described this textual quality of personality or voice as "the essayist's most proper but most dangerous and delicate tool."

Similarly, at the beginning of "Walden, " Henry David Thoreau reminds the reader that "it is ... always the first person that is speaking." Whether expressed directly or not, there's always an "I" in the essay -- a voice shaping the text and fashioning a role for the reader.

Fictional Qualities

The terms "voice" and "persona" are often used interchangeably to suggest the rhetorical nature of the essayist himself on the page. At times an author may consciously strike a pose or play a role. He can, as E.B. White confirms in his preface to "The Essays," "be any sort of person, according to his mood or his subject matter."

In "What I Think, What I Am," essayist Edward Hoagland points out that "the artful 'I' of an essay can be as chameleon as any narrator in fiction." Similar considerations of voice and persona lead Carl H. Klaus to conclude that the essay is "profoundly fictive":

It seems to convey the sense of human presence that is indisputably related to its author's deepest sense of self, but that is also a complex illusion of that self -- an enactment of it as if it were both in the process of thought and in the process of sharing the outcome of that thought with others.

But to acknowledge the fictional qualities of the essay isn't to deny its special status as nonfiction.

Reader's Role

A basic aspect of the relationship between a writer (or a writer's persona) and a reader (the implied audience ) is the presumption that what the essayist says is literally true. The difference between a short story, say, and an autobiographical essay lies less in the narrative structure or the nature of the material than in the narrator's implied contract with the reader about the kind of truth being offered.

Under the terms of this contract, the essayist presents experience as it actually occurred -- as it occurred, that is, in the version by the essayist. The narrator of an essay, the editor George Dillon says, "attempts to convince the reader that its model of experience of the world is valid."

In other words, the reader of an essay is called on to join in the making of meaning. And it's up to the reader to decide whether to play along. Viewed in this way, the drama of an essay might lie in the conflict between the conceptions of self and world that the reader brings to a text and the conceptions that the essayist tries to arouse.

At Last, a Definition—of Sorts

With these thoughts in mind, the essay might be defined as a short work of nonfiction, often artfully disordered and highly polished, in which an authorial voice invites an implied reader to accept as authentic a certain textual mode of experience.

Sure. But it's still a greased pig.

Sometimes the best way to learn exactly what an essay is -- is to read some great ones. You'll find more than 300 of them in this collection of Classic British and American Essays and Speeches .

Periodical Essay Definition and Examples
Learn How to Use Extended Definitions in Essays and Speeches
Understanding General-to-Specific Order in Composition
Thesis: Definition and Examples in Composition
Definition and Examples of Humorous Essays
Definition Examples of Collage Essays
Reading Quiz on 'Why I Want a Wife' by Judy Brady
Best Practices for the Most Effective Use of Paragraphs
11 Weird and Interesting Words in English
Definition and Examples of Symbolic Action
What Is a Compound Verb?
Definition and Examples of Formal Essays
Conclusion in Compositions
personal statement (essay)
What Is a Personal Essay (Personal Statement)?
Topic In Composition and Speech

Essay on My Mother for Schools Students and Children

500+ words essay on my mother.

My mother is an ordinary woman she is my superhero. In every step of my, she supported and encouraged me. Whether day or night she was always there for me no matter what the condition is. Furthermore, her every work, persistence, devotion, dedication, conduct is an inspiration for me. In this essay on my mother, I am going to talk about my mother and why she is so special to me.

Why I Love My Mother So Much?

I love her not because she is my mother and we should respect our elders. I respect her because she has taken care of me when I was not able to speak. At that time, she has taken care of all my needs when I wasn’t able to speak.

Additionally, she taught me how to walk, speak, and take care of myself. Similarly, every bigger step that I have taken in my life is all because of my mother. Because, if she hasn’t taught me how to take small steps then I won’t be able to take these bigger step.

Get the huge list of more than 500 Essay Topics and Ideas

She is an essence of truthfulness, love, and sincerity. Another reason is that she showers her family with her blessing and live. Furthermore, she gives us everything but never demand anything in return. The way she cares for everyone in the family inspires me to the same in my future.

Also, her love is not just for the family she treats every stranger and animals the same way she did to me. Due to, this she is very kind and sensible towards the environment and animals.

Get English Important Questions here

Her Strengths

Although she is not physically very strong she faces every hurdle of her life and of the family too. She motivates me to be like her and never submit in difficult times. Above all, my mother encourages me to improve my all-round skills and studies. She motivates me to try again and again till I get success in it.

A Companion of Trouble

Whenever I was in trouble or scolded by dad I run towards my mother as she is the only one that can save me from them. Whether a small homework problem or a bigger problem she was always there for me.

When I was afraid of the dark she would become my light and guide me in that darkness. Also, if I can’t sleep at night she would hold my head on her lap until I fell asleep. Above all, she never leaves my side even in the hardest of times.

Every mother is special for her children. She is a great teacher, a lovely friend, a strict parent. Also, she takes cares of the need of the whole family. If there is anyone out there who loves us more than our mother is only God. Not just for my mother but for every mother out there who lives her life for her family deserves praiseworthy applause.

Frequently Asked Questions for You

Q.1 When did the Mother’s Day be celebrated in India and why?

A.1 Mother’s Day is celebrated on the Second Sunday in the month of May. It’s celebrated to appreciate the hard work that our mother’s do in their life. And the sacrifices that they make to keep their family happy.

Q.2 Why mother is so special?

A.2 They are special because they are mothers. They are the superwomen that do all the housework, teach and take care of their children, looks after her husband, do her job and at the end of the day if you ask for her help she says ‘yes’ with a smile on her face.

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‘I’m a NICU Nurse Who Had Postpartum Depression 3 Times—Here’s What I’ve Learned’

“I just remember sitting in my [hospital] room, and everything just felt super overwhelming, and I was very tearful," Leos recalls. "I thought to myself, ‘I need help. I can feel it already.’”

"It" was postpartum depression, or PPD, characterized by feelings of sadness, hopelessness, or anxiety that last longer than two weeks and start around the time of delivery, according to the Office on Women’s Health (OWH). Leos, 39, who lives in Midlothian, Texas, and works as a nurse in a neonatal intensive care unit (NICU), had experienced it twice before, when her two older children were born.

Jill Zechowy, MD , physician, perinatal psychotherapist, and author of Motherhood Survival Manual: Your Prenatal Guide to Prevent Postpartum Depression and Anxiety

But even though she recognized PPD this time, it still took Leos months to feel better. Here’s what she wants everyone to know about this emotional experience.

You might feel everything—or nothing at all

PPD—also sometimes called perinatal depression—can occur anytime during pregnancy or in the year after, explains Jill Zechowy, MD , a physician, perinatal psychotherapist, and author of Motherhood Survival Manual: Your Prenatal Guide to Prevent Postpartum Depression and Anxiety . “It’s characterized by exhaustion, feeling overwhelmed, sometimes tearful, other times numb," Zechowy says. "These moms feel like they are failures as mothers.”

Other new moms might experience anger, rage, or anxiety, which often shows up as disturbing, intrusive thoughts. “These can be really scary images that women have in which they imagine harm coming to the baby,” she says.

The smallest tasks, like taking leftovers out of the fridge to reheat for dinner, were overwhelming for Leos—if she had the motivation to do them at all. “I would start a task, and forget what I was doing, so my house got really crazy. I didn’t have a lot of motivation to do tasks to begin with, so once I actually got the motivation, it was even worse, because I couldn’t finish them,” she says.

She remembers cloudy moments of brain fog when she felt like she was living outside of her body, watching her family from afar without feeling the joy or love she usually felt being with them.

That was a big difference from the emotional peaks and valleys she had experienced after her first two deliveries. About eight weeks after having her first daughter, Kristina talked to her OB/GYN about how she was feeling and started a type of antidepressant called a selective serotonin reuptake inhibitor or SSRI. After her second delivery, she started the antidepressant right away. (Once you’ve had postpartum depression once, you’re more likely to have it again, Dr. Zechowy says.)

It’s more common in certain people

No one knows exactly what causes postpartum depression, and it’s probably a combination of many factors. Experts think the major hormone changes that happen so quickly after giving birth likely trigger mood changes, according to the OWH.

You’re also more likely to develop postpartum depression, per the OWH, if you have a family history of depression (even in male relatives; had an unplanned, difficult, traumatic, or premature pregnancy or delivery; don't have much support from your partner, family, or friends; or are facing other life stressors, like financial challenges or relationship problems.

Leos conceived her third child through IVF, and her daughter was born premature. Parents who go through IVF and those who deliver before full-term are both more likely to have postpartum depression symptoms , according to an August 2023 Acta Psychologica study and a January 2022 Scientific Reports study, respectively. “Everything just happened so fast for me this time, and I wasn’t expecting it at all,” Leos says of her third delivery.

Finding the right treatment can take time

What didn’t happen fast was finding an effective treatment. Leos delivered her second daughter in March 2023. She went back on the SSRI after delivery, and she says she would feel some improvement, then feel a little worse. Her OB/GYN kept increasing her dose. They added a second medication to her routine, but the same pattern—one step forward, two steps back—repeated. “I would feel a little bit better, but then I would just slide backwards," she says. "It was a roller coaster, down and up and down.”

Her OB/GYN suggested speaking with a psychiatrist. At first, Leos didn’t feel comfortable opening up to a stranger. “It was hard enough for me to open up to [my doctor], and I trusted her so much," she says. "But I realized at some point that this was beyond what she could offer to me.” She started seeing a psychiatrist in the summer of 2023. The psychiatrist adjusted the doses of her medications, tried some different options, and still couldn’t relieve Leos’s symptoms.

In December 2023, Leos remembers her psychiatrist looking at her and saying, “This is not working. We need to do something else.” Her options included electroconvulsive therapy, ketamine treatment, and hospitalization. “I couldn’t believe I had gotten to a point in my life where I could have to be in the hospital for Christmas without my kids,” she says.

She remembered hearing about a relatively new postpartum depression treatment called zuranolone on Facebook, so she asked her psychiatrist for more information. The psychiatrist hadn’t prescribed it to anyone yet—it had only been approved by the FDA for PPD treatment that August—but after looking into it more, they determined Leos would be a good candidate.

Zuranolone, sold under the brand name Zurzuvae , “is the first oral pill that the FDA has specifically approved for postpartum depression,” Dr. Zechowy says.

Previously, the only medication specifically approved for PPD was a 60-hour intravenous infusion that had to be delivered in the hospital, according to Yale Medicine .

Rather than target the neurotransmitter serotonin, zuranolone works on different feel-good receptors in the brain that depend on the hormone allopregnanolone, Dr. Zechowy explains. Allopregnanolone levels drop dramatically after giving birth. Consequently, “it works much quicker than SSRIs,” she says. “Whereas they may take two to four weeks to start becoming effective, sometimes zuranolone works as quickly as in three days.”

Plus, you only take zuranolone for 14 days, compared to the 12 months or so you’d probably be treated with SSRIs, Dr. Zechowy estimates. This makes it an especially exciting development for people with severe postpartum depression who need relief quickly, she adds.

Leos started taking zuranolone in January 2024. By day three, she could already tell she was feeling differently. “Every day, I got better and better, and then at the end, I was just like, wow, I don't feel like [I’m having] an out-of-body experience.”

Treatment, in some cases, is a life-or-death matter: “Most families are not aware of the harm of untreated postpartum depression,” Dr. Zechowy says. But perinatal mental health concerns (which includes PPD as well as postpartum anxiety and postpartum psychosis ) are the top cause of death among new moms via suicide or overdose, according to the American College of Obstetricians and Gynecologists . “I know someone who died from postpartum depression a few weeks ago,” Leos says. “It really, really shook me hard, because it could be any of us.”

There are some side effects of the PPD pill to be aware of

Leos decided to start treatment when she had five days off from work in a row, to give herself some time and space in case she experienced any side effects.

The biggest side effects of zuranolone are dizziness and sedation, Dr. Zechowy says. Because of these concerns, you shouldn’t drive within 12 hours of taking the pill (which you take every evening with a meal rich in fat to help your body absorb the medication, per the manufacturer’s website ), which simply might not work for everyone, she says.

“My main thing was dizziness, but the side effects were not as bad as I thought they would be. For me, the benefits outweigh the little side effects,” Leos says.

You shouldn’t breastfeed on zuranolone

We don’t currently know how this relatively new medication may or may not affect a newborn, so you shouldn’t breastfeed while taking it. “I pumped and dumped, and it was just for two weeks, so it wasn’t that long,” Leos says.

Still, it was challenging emotionally for her: “When I felt like such a failure, one thing I could do for my daughter was to provide milk. So the fact that I couldn’t breastfeed made me not want to take zuranolone. But I realized I could pump and dump, and for two weeks, you can do anything.”

There’s a hefty trice tag for the pill, but insurance can help

The wholesale price of Zurzuvae was announced at $15,900 by manufacturer Sage Therapeutics . They do have a financial assistance program , and anecdotally, at least, Dr. Zechowy says most insurance companies are covering the cost if your doctor gets approval from them first (called a prior authorization).

Leos didn’t have to pay that much, but she thinks it would have been worth it. “Now that I've taken it, I would gladly pay $16,000,” she says. “I’d have to take out a loan, but I would gladly pay that, because you can’t put a price tag on your life.”

You are not alone if you have PPD

One in 8 new moms experiences symptoms of PPD , per the OWH, but it can feel like you’re the only one struggling. Postpartum depression was isolating for Leos. “I didn’t want to burden anyone by telling them how I was feeling,” she says. “My best friends, my husband—they didn’t know the extent of my issues. But it’s a time [when] you need the most help and you need someone to talk to.”

Shame often keeps new parents from speaking out about how they’re feeling, Dr. Zechowy says. “Women see a significant part of their value as a human being by their role as a mother, and postpartum depression makes you feel like you're a terrible mother. You don't realize you're depressed. You just think you're not good at this.”

Leos just overcame that shame recently. “I only started talking about my experience a few months ago,” she says. There were many opportunities when someone in the health care system could have extended more support to her. For example, she says, she scored high on measurements of depression during multiple evaluations, but providers shrugged it off as normal. “I think people are just afraid to talk about it,” she says. “I started to think maybe I shouldn’t be worried about it.”

That’s emboldened her to speak up publicly and at work. “As a health care professional who works with postpartum women, I think it's important to bring up postpartum depression to them, and tell them that it's real,” she says. “In our discharge instructions, I think there's, like, one line about postpartum depression. Now I just take a lot more time to actually educate moms [about it].”

Need support for PPD? Call or text the Postpartum Support International helpline at 1-800-944-4773 or the National Maternal Mental Health Hotline at 1-833-852-6262.

Girchenko, P., Robinson, R., Rantalainen, V.J. et al. Maternal postpartum depressive symptoms partially mediate the association between preterm birth and mental and behavioral disorders in children. Sci Rep 12 , 947 (2022). https://doi.org/10.1038/s41598-022-04990-w
Li, Chuan-Chen et al. “Factors associated with postpartum depressive symptoms among women who conceived with infertility treatment.” Acta psychologica vol. 238 (2023): 103987. doi:10.1016/j.actpsy.2023.103987

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Lisa Marie Presley Said She Was 'Destroyed' by Son Benjamin's Death but Kept 'Going for My Girls'

In honor of National Grief Awareness Day, Lisa Marie Presley penned an emotional essay about what she's learned in the time since her son Benjamin Keough's death by suicide in 2020

Editor's note: Nearly five months before her death on Jan. 12 at 54, Lisa Marie Presley shared exclusively with PEOPLE an essay she wrote about navigating grief following the heartbreaking death of her son Benjamin Keough in 2020. This essay was first published on Aug. 30, 2022.

Lisa Marie Presley is opening up about life after the loss of her late son Benjamin Keough .

In honor of "National Grief Awareness Day" on Tuesday, the singer, 54, penned an emotional essay about the low points she's faced in the time since Keough's death by suicide in 2020 at age 27. She also gets real about keeping strong for her three daughters (Presley shares Benjamin and daughter Riley with ex-husband Danny Keough, and she has 13-year-old twin daughters Finley Aaron Love and Harper Vivienne Anne with Michael Lockwood , from whom her divorce was finalized last May) .

Read on for Presley's essay, which has been shared exclusively with PEOPLE and lightly edited for clarity .

Today is "National Grief Awareness Day," and since I have been living in the horrific reality of its unrelenting grips since my son's death two years ago, I thought I would share a few things to be aware of in regard to grief for anyone who is interested. If not to help yourself but maybe to help another who is grieving …

This is not a comfortable subject for anyone, and it is most unpopular to talk about. This is quite long, potentially triggering and very hard to confront. But if we're going make any progress on the subject, grief has to get talked about. I'm sharing my thoughts in the hopes that somehow, we can change that.

Death is part of life whether we like it or not — and so is grieving. There is so much to learn and understand on the subject, but here's what I know so far: One is that grief does not stop or go away in any sense, a year, or years after the loss. Grief is something you will have to carry with you for the rest of your life, in spite of what certain people or our culture wants us to believe. You do not "get over it," you do not "move on," period.

Two, grief is incredibly lonely. Despite people coming in the heat of the moment to be there for you right after the loss takes place, they soon disappear and go on with their own lives and they kind of expect for you to do the same, especially after some time has passed. This includes "family" as well. If you're incredibly lucky, less than a handful will remain in contact with you after the first month or so. Unfortunately, that is a cold hard truth for most. So, if you know someone who lost a loved one, regardless of how long it's been, please call them to see how they are doing. Go visit them. They will really really appreciate it, more than you know …

Three, and particularly if the loss was premature, unnatural, or tragic, you will become a pariah in a sense. You can feel stigmatized and perhaps judged in some way as to why the tragic loss took place. This becomes magnetized by a million if you are the parent of a child who passed. No matter how old they were. No matter the circumstances.

RELATED VIDEO: Lisa Marie Presley Opened Up About Being 'Ferociously Protective' of Her Kids in 2014 Interview

I already battle with and beat myself up tirelessly and chronically, blaming myself every single day and that's hard enough to now live with, but others will judge and blame you too, even secretly or behind your back which is even more cruel and painful on top of everything else.

This is where finding others who have experienced a similar loss can be the only way to go. Support groups that have your specific kind of loss in common. I go to them, and I hold them for other bereaved parents at my home.

Nothing, absolutely NOTHING takes away the pain, but finding support can sometimes help you feel a little bit less alone.

Your old "friends" and even your family can and will run for the hills.

The unrelenting reality is that you are FORCED into this horrendous "club," if you will, that you never wanted to be in or a part of, and you are FORCED to then, for lack of a better term, have to go and find your new people now.

I now truly cherish the few who have stayed in there with us throughout this entire nightmare process from the onset. And I have also now come to love and cherish my newfound friends who are in this same "club."

If I'm being honest, I can understand why people may want to avoid you once a terrible tragedy has struck. Especially a parent losing their child because it is truly your worst nightmare. I can recall a couple of times in my life where I knew parents who lost their child and while I could be there for them when it happened, I avoided them after and never bothered to follow up with them because they quite literally became a representative of my biggest fear. I also low-key judged them, and I swore I'd never do whatever it was that I felt they either did or neglected in their parental actions and choices with their child.

Yet here I am, I am now living what it's like to be that same representative to other parents ... Obviously, no parent chooses this road, and thankfully not all parents will have to become a victim to it — and I do mean VICTIM here. I used to hate that word. Now I know why. I've dealt with death, grief and loss since the age of 9 years old. I've had more than anyone's fair share of it in my lifetime and somehow, I've made it this far. But this one, the death of my beautiful, beautiful son? The sweetest and most incredible being that I have ever had the privilege of knowing, who made me feel so honored every single day to be his mother? Who was so much like his grandfather on so many levels that he actually scared me? Which made me worry about him even more than I naturally would have? No. Just no ... no no no no ...

RELATED VIDEO: Lisa Marie Presley Shares Sweet Photo with All 4 of Her Kids: 'Mama Lion with Cubs'

It's a real choice to keep going, one that I have to make every single day and one that is constantly challenging to say the least ... But I keep going for my girls. I keep going because my son made it very clear in his final moments that taking care of his little sisters and looking out for them were on the forefront of his concerns and his mind. He absolutely adored them and they him.

My and my three daughters' lives as we knew it were completely detonated and destroyed by his death. We live in this every. Single. Day.

I'm saying all this, on this particular day, "National Grief Awareness Day," in the hopes that I can help raise some awareness of grief and loss. Just know after this day passes, for all your friends who have had a loved one die, every day is grief awareness day. I'm saying this, in the hopes that it helps someone who is suffering as I and my children suffer. In the hopes that maybe today or as soon as possible, you can reach out to someone who is grieving someone they loved and lost. Whether they lost a child, a parent, a spouse, a sibling, a fiancé, anyone.

Ask them how they're doing, ask them to talk about their person. Yes! We DO want to talk about them. That's how we keep them alive in our hearts, that's how they don't get forgotten, that is what keeps us alive as well. And do me a favor, don't tell them that "you can't imagine" their pain. The truth is, oh yes you can — you just don't want to.

Thanks for reading all of this. I know how hard and triggering it is. But maybe let it trigger you to reach out to someone who needs it right now rather than it just triggering something bad.

For help and info on what to say, visit Grief.com and show up.

Written with all of my love and my pain, most sincerely ~LMP

If you or someone you know is considering suicide, please contact the 988 Suicide and Crisis Lifeline by dialing 988, text "STRENGTH" to the Crisis Text Line at 741741 or go to 988lifeline.org .

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