Home » Application Process » How To: Write Your Personal Essay
How To: Write Your Personal Essay
Posted by Carolyn Pippen on Wednesday, September 11, 2013
While we still have a few more days until the official beginning of fall, around here it feels a lot like the season has already begun. Classes are back in session, the leaves are falling off the trees, and most of our counselors have departed for the two-month marathon of flights, high school visits, and college fairs that we call travel season.
In addition, thousands of high school seniors across the country have begun the process of filling out college applications. Regardless of whether or not one of your applications will be submitted to Vanderbilt, we would like to offer you a few nuggets of the expertise we have acquired working with students and evaluating applications over years.
Thus we give you: The “How To” Series. Over the next several weeks, we will be posting lists of tips concerning various pieces of the application that we hope will make this process a little less overwhelming for all of you. Today’s tips focus on the personal essay.
- Be thoughtful, but not fretful. As a senior, most of the accomplishments that will make up the bulk of your application – academic performance, test scores, and extracurricular involvement – are said and done. In a sense, the only part of the application over which you have complete control right now is the essay. Don’t let this scare you! While the essay is a valuable tool that we use to understand you better, it is rarely if ever a “make or break” component of your application.
- Keep the “personal” in personal essay. The Common Application presents six different prompts for you to choose from when writing your essay. To be honest, we don’t really care that much what you write about, as long as you’re writing about you. In other words, don’t spend the entire essay detailing the life of your favorite and most accomplished family member, but rather focus on how that person has affected you and your life decisions. Don’t give us a detailed narrative of your favorite community service trip, but instead tell us what you learned from that trip and how it has changed your outlook on the world. This is one time when it’s okay to be self-centered – more than anything, we want to know about you!
- Don’t try to guess what the reader wants to hear. If you ask a hundred different admissions counselors what their favorite kind of essay is, you will likely get a hundred different answers. Trying to figure out what topic will get us most excited is like trying to guess which outfits the judges of Project Runway are going to like the most – no matter how many times we watch, Heidi always manages to confound. Instead of trying to game the system, focus on the things that get you excited. If nothing else, I promise that passion will show through.
- Feel free to be funny or creative – but don’t overreach. If your friends tell you that you’re the funniest person in the class, use that skill to your advantage. If your creativity is what sets you apart from your peers, let that innovation guide the structure and content of the essay. On the other hand, if every joke you make at the cafeteria table falls flatter than a pancake in a Panini press, don’t try to fake it. Figure out what your personal strengths are, and stick with them.
- Tell us something we don’t already know. When writing your essay, be sure to keep in mind all of the other pieces of your application we already have in front of us while we’re reading it. Do not use this space to summarize your extracurricular involvement or your academic achievements if we’ve already seen these things in your resume and transcript. We know that there is more to you than just test scores and leadership roles, so tell us more!
- Ask for input (but not too much). Your parents, friends, guidance counselors, coaches, and teachers are great people to bounce ideas off of for your essay. They know how unique and spectacular you are, and they can help you decide how to articulate it. Keep in mind, however, that a 45-year-old lawyer writes quite differently from an 18-year-old student, so if your dad ends up writing the bulk of your essay, we’re probably going to notice.
- Edit, proof, polish, and breathe. Beyond gaining insight into your personal psyche, the purpose of the essay is also to showcase your written communication skills. Treat this essay just like any class assignment – write it early, proof and revise, keep an eagle eye out for spelling and grammatical errors, and make sure it is presented in a clean and polished way. That being said, do not call our office in a panic if you discovered a missing article or a misused “its” after you hit submit. Because of our holistic selection process, no student will be denied based on one element of his or her application; this includes typos.
Posted in Application Process, General Information, The College Essay and tagged: academic credentials, breathe, college applications, Common Application, essay writing, extracurricular activities, Heidi Klum, how to apply, personal essay, Project Runway
Powerful, surprising, and fascinating personal essays are also “reader-friendly essays” that keep the reader squarely in focus. So how do you go about writing one? In this excerpt from Crafting the Personal Essay, author Dinty W. Moore shares a variety of methods for crafting an essay that keeps the reader’s desires and preferences in mind, resulting in a resonate and truly memorable piece. As Moore says, “Privacy is for your diary. Essays are for readers.”
Writing the Reader-Friendly Essay
Good writing is never merely about following a set of directions. Like all artists of any form, essay writers occasionally find themselves breaking away from tradition or common practice in search of a fresh approach. Rules, as they say, are meant to be broken.
But even groundbreakers learn by observing what has worked before. If you are not already in the habit of reading other writers with an analytical eye, start forming that habit now. When you run across a moment in someone else’s writing that seems somehow electric on the page, stop, go back, reread the section more slowly, and ask yourself, “What did she do here, put into this, or leave out, that makes it so successful?”
Similarly and often just as important, if you are reading a piece of writing and find yourself confused, bored, or frustrated, stop again, back up, squint closely at the writing, and form a theory as to how, when, or where the prose went bad.
Identifying the specific successful moves made by others increases the number of arrows in your quiver, ready for use when you sit down to start your own writing. Likewise, identifying the missteps in other writers’ work makes you better at identifying the missteps in your own.
Remember the Streetcar
Tennessee Williams’ wonderful play, A Streetcar Named Desire, comes from a real streetcar in New Orleans and an actual neighborhood named Desire. In Williams’ day, you could see the streetcar downtown with a lighted sign at the front telling folks where the vehicle was headed. The playwright saw this streetcar regularly—and also saw, of course, the metaphorical possibilities of the name.
Though this streetcar no longer runs, there is still a bus called Desire in New Orleans, and you’ve certainly seen streetcars or buses in other cities with similar, if less evocative, destination indicators: Uptown, Downtown, Shadyside, West End, Prospect Park.
People need to know what streetcar they are getting onto, you see, because they want to know where they will be when the streetcar stops and lets them off.
Excuse the rather basic transportation lesson, but it explains my first suggestion. An essay needs a lighted sign right up front telling the reader where they are going. Otherwise, the reader will be distracted and nervous at each stop along the way, unsure of the destination, not at all able to enjoy the ride.
Now there are dull ways of putting up your lighted sign:
This essay is about the death of my beloved dog.
Let me tell you about what happened to me last week.
And there are more artful ways.
Readers tend to appreciate the more artful ways.
For instance, let us look at how Richard Rodriguez opens his startling essay “Mr. Secrets”:
Shortly after I published my first autobiographical essay seven years ago, my mother wrote me a letter pleading with me never again to write about our family life. “Write about something else in the future. Our family life is private.” And besides: “Why do you need to tell the gringos about how ‘divided’ you feel from the family?” I sit at my desk now, surrounded by versions of paragraphs and pages of this book, considering that question.
Where is the lighted streetcar sign in that paragraph?
Well, consider that Rodriguez has
- introduced the key characters who will inhabit his essay: himself and his mother,
- informed us that writing is central to his life,
- clued us in that this is also a story of immigration and assimilation (gringos), and
- provided us with the central question he will be considering throughout the piece: Why does he feel compelled to tell strangers the ins and outs of his conflicted feelings?
These four elements—generational conflict between author and parent, the isolation of a writer, cultural norms and difference, and the question of what is public and what is private—pretty much describe the heart of Rodriguez’s essay.
Or to put it another way, at every stop along the way—each paragraph, each transition—we are on a streetcar passing through these four thematic neighborhoods, and Rodriguez has given us a map so we can follow along.
Find a Healthy Distance
Another important step in making your personal essay public and not private is finding a measure of distance from your experience, learning to stand back, narrow your eyes, and scrutinize your own life with a dose of hale and hearty skepticism.
Why is finding a distance important? Because the private essay hides the author. The personal essay reveals. And to reveal means to let us see what is truly there, warts and all.
The truth about human nature is that we are all imperfect, sometimes messy, usually uneven individuals, and the moment you try to present yourself as a cardboard character—always right, always upstanding (or always wrong, a total mess)—the reader begins to doubt everything you say. Even if the reader cannot articulate his discomfort, he knows on a gut level that your perfect (or perfectly awful) portrait of yourself has to be false.
And then you’ve lost the reader.
Pursue the Deeper Truth
The best writers never settle for the insight they find on the surface of whatever subject they are exploring. They are constantly trying to lift the surface layer, to see what interesting ideas or questions might lie beneath.
To illustrate, let’s look at another exemplary essay, “Silence the Pianos,” by Floyd Skloot.
Here is his opening:
A year ago today, my mother stopped eating. She was ninety-six, and so deep in her dementia that she no longer knew where she was, who I was, who she herself was. All but the last few seconds had vanished from the vast scroll of her past.
Essays exploring a loved one’s decline into dementia or the painful loneliness of a parent’s death are among the most commonly seen by editors of magazines and judges of essay contests. There is a good reason for this: These events can truly shake us to our core. But too often, when writing about such a significant loss, the writer focuses on the idea that what has happened is not fair and that the loved one who is no longer around is so deeply missed.
Are these emotions true?
Yes, they are.
Are they interesting for a reader?
Often, they simply are not.
The problem is that there are certain things readers already know, and that would include the idea that the loss of a loved one to death or dementia is a deep wound, that it seems not fair when such heartbreak occurs, and that we oftentimes find ourselves regretting not having spent more time with the lost loved one.
These reactions seem truly significant when they occur in our own lives, and revisiting them in our writing allows us to experience those powerful feelings once again. For this reason it is hard to grasp that the account of our loss might have little or no impact on a reader who did not know this loved one, or does not know you, and who does not have the emotional reaction already in the gut.
In other words, there are certain “private” moments that feel exhilarating to revisit, and “private” sentences that seem stirring to write and to reread as we edit our early drafts, but they are not going to have the same effect in the public arena of publishable prose.
In the last twenty years of teaching writing, the most valuable lesson that I have found myself able to share is the need for us as writers to step outside of our own thoughts, to imagine an audience made up of real people on the other side of the page. This audience does not know us, they are not by default eager to read what we have written, and though thoughtful literate readers are by and large good people with large hearts, they have no intrinsic stake in whatever problems (or joys) we have in our lives.
This is the public, the readers you want to invite into your work.
Self-expression may be the beginning of writing, but it should never be the endpoint. Only by focusing on these anonymous readers, by acknowledging that you are creating something for them, something that has value, something that will enrich their existence and make them glad to have read what you have written, will you find a way to truly reach your audience.
And that—truly reaching your audience and offering them something of value—is perhaps as good a definition of successful writing as I’ve ever heard.
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