why i love writing essay

Writing like a Boss

From the desk of Samantha R. Uhrig

7 Reasons I LOVE to Write (and 2 Reasons You Should, Too)

Hello, writers, and happy Valentine’s Day! Today we’re going over one of my favorite topics of all time: loving your writing. I wrote about it in May 2017 , which is my most favorite post to date. (You can check out it out as a sequel to this one!)

But instead of some ways to love your writing, today I’m going to share some reasons why  I  love to write. Because it’s healthy to remind yourself why you do what you do! It keeps you focused, and helps you stay dedicated to your work. And at the bottom of this post, there will be two reasons why you,  too, should love your writing. The point of my list is to inspire your own, so you can finish your novel or screenplay ASAP!

Okay, let’s get on with it, shall we?

Note: point 3 has been edited in the written post, so the paragraph is said differently in the video.

An almost unnecessary little note: in this video, I wore bubblegum-pink jeans to make up for my black shirt. I’m kinda disappointed it wasn’t actually shown, so just pretend for me.

7 REASONS I LOVE TO WRITE

1. because i can create anything in my wildest imagination..

This is why I write fantasy as a means of relaxing, or even as a comfort when I’m feeling low. Suspension of disbelief is how fiction is possible!

Suspension of disbelief, otherwise  sacrifice of realism and logic for the sake of enjoyment , enables readers to leave behind what they’ve learned from the real world to lose themselves in a work of pure fiction. This is how you can watch Star Wars without saying, “But that’s impossible! There’s no such thing as the Force!”

Because suspension of disbelief exists, I as the writer have the freedom to put to page whatever my mind conjures, and someone can read it without thinking it unusual. A marvelous concept, isn’t it?

2. Because the words are a comfort.

When I’m feeling unwell, I write. It’s so natural, I didn’t even realize my unconscious habit till recently.

But I’m careful to write something separate from my main project , or else it just creates more stress and problems. I’ll look up some writing- or character-prompts online, and create a new story from there. It’s even more relaxing on paper. They’re rarely finished, but  so  helpful for when I need to chill!

3. Because I want to leave my mark on the world.

I don’t know what the world will know of me in a hundred years. I intend to write many books and manuscripts in my lifetime, but how much of an impact will they make? Will I be a bestselling classic? A local hero? A name passed through the family? All but forgotten to the public? Only God knows (which is quite a comfort!).

The way I see it, the more stories I write, and the more I improve with each one, the better I’ll be remembered for my dedication. And if it’s just my parents, grandparents, and siblings – as well as my husband, children, grandchildren, etc. – who are proud of me and know who I am, it’s enough! I’m so thrilled for my future family to read all the projects on which I will have worked so hard. That is the ultimate motivation for me.

4. Because I love to inspire others.

This is why I blog, specifically. I absolutely  adore  the idea of inspiring even just one person to follow his or her passion, writing or otherwise, and this is one of the biggest reasons why I write!

Namely, I want to inspire young writers out there. I’m fairly young myself, which I’m slow to admit, I’ll confess, but I think this gives me a particular advantage at this point in my life. Young writers will look at my blog, my books, my business, and everything I’m building every day, and they’ll say to themselves, “If she can do this, maybe I can, too!”

I won’t be young forever, but I don’t believe my advantage in this respect will go away because of it! All the feats of my young life are (or will be) on paper, and they’re not going anywhere. Perhaps, the older I grow, and the more I accomplish, the more I will inspire others. That’s the hope, writers!

5. Because I can use it to learn about topics that interest me.

About two years ago, I got very “into” the World War II era (1939-1945). I wanted to learn more, but there was only so much interesting information I could retain from books and Wikipedia pages. I took it a step further, and used my few findings as a base for a novel called “What I Wish I Said But Never Did.” That novel later became  The Girl Who Frosts the Cakes !

Not only do I love that project dearly, but I learned  so much  about that time and culture in the process . Now I can spit out all sorts of miscellaneous facts about the era, like the price of a loaf of bread, or when and why women’s trousers became “the thing” in America, or the value of a dollar in 1940 vs. 1945.

It’s wild to think that this novel, which I’ve been rewriting and cutting and shaping with care for what feels like forever, just started with plain curiosity. I can’t wait to find my next big interest!

6. Because I can use it to express my loves, opinions, and beliefs.

I love many things. Vanilla cake, coffee, weddings, skirts, curly hair, close-knit friendships, bookshops, the smell of old paper, small businesses, and red lipstick are just a few of my earthly loves, and every one of those things is deliberately featured in my novel.

What about my opinions and beliefs? I’m careful to weave those in my writing, too! As a Christian, I firmly believe Jesus is King, and I strive to live in a way that pleases Him. I very badly want this to be clear in all my writing; even in fiction.

And finally:

7. I’m simply in love with words.

I open up a book, and I feel at home. I love to wander through secondhand bookstores, running my fingers over the cracked spines and worn covers. Whenever I hear or read words I like, I’ll write them down as a reminder to use them more. As a kid, I would  beg  for a spelling test. I even love how inconsistent our grammar rules are, how nothing makes sense. English is beautiful nonsense.

In the English language, we only have twenty-six letters; but those twenty-six letters make up over  171,476 words.  How amazing is that? Think about it: 171,476 +  unique words! And now imagine how many words are in other  languages, including words and phrases we can’t even comprehend in English. Language is a mind-boggling miracle, and I’m in love with all of it!

2 SIMPLE REASONS WHY YOU SHOULD LOVE YOUR WRITING, TOO

1. you’re more likely to stick to your project..

You wouldn’t put all that work into a project if you didn’t like it. Unless you write purely for money. In which case, I seriously doubt you would make it through the whole article to this point.

Case in point: if you love to write, you’re more likely to stick with – and finish! – your novel/screenplay/etc. How exciting is that?

And lastly, our final point of the evening:

2. It shows in your writing.

Believe it or not, you can tell when a writer doesn’t like his or her writing. It’s hard to describe, really. The best way I can think to explain is, it’s clear when someone has put love, care, and dedication into their work; in the reverse, it’s also apparent when someone  doesn’t.

Loving your writing is so, so important. If you don’t love to write – why do you do it?

I suggest keeping your very own “why I love to write” list. Tape it to your bathroom mirror, or on the shelf with your favorite cereal bowl, and update it often, because we’re always changing (which is a good thing!). This will keep you from getting discouraged, and thereby, you’ll be more productive in your writing!

I hope you enjoyed this special post! Don’t forget to check out 5 Little Ways to Love Your Writing as a sequel, and laugh along with us in this blooper reel! Happy writing!

5 Little Ways to Love Your Writing (And Why it’s Important)

2 responses to “7 Reasons I LOVE to Write (and 2 Reasons You Should, Too)”

You have certainly inspired me! I often have trouble believing my writing is actually worth reading. I’m in the process of climbing out of that pit called “writer’s block,” and this post has given me some of the strength to do just that. Thanks!

I’m so glad to have helped, Paige! I struggle with the very same problems. I just like to remember: there is always at least one person who wants to read our writing. Happy writing!

Why I Love Writing Essay Example

I’ve always loved to read and write. Reading and writing have always come easy to me. I don’t write as well, sometimes, at school because it’s not something I want to write about. 

I remember reading different children's books with my parents when I was younger. My parents read, “One Fish Two Fish Red Fish Blue Fish,” “The Cat in the Hat,” and “Green Eggs and Ham,” to me. Normally they would read with me before bed or sometime in the evening. My parents helped me the most. They would explain things in the books that I wouldn’t understand and helped me read them out loud, and know what they meant. I liked to read at night by myself before I went to bed. I started reading at night around 4th grade and stopped around my freshman year. 

When I first start reading a book, I struggle to get invested in the story, but over time I start to enjoy the plot. I enjoy reading fiction books the most. I also enjoy starting a series instead of reading a singular book. I read to envision a whole other world. Fiction books have so many possibilities, and at times, help me be more creative with my own imagination. I get intimidated by poetry or books/stories from long ago (i.e., Shakespeare, etc.)

My first memories of writing are in elementary school. In my 4th and 5th grade years, my teachers would let us have free time to write whatever we wanted. We then would go around to everybody's stories and give them feedback. I liked this a lot because I could write about whatever I wanted. I felt like I was a great writer, for my age, because I taught myself how to use the correct grammar and punctuation in my own writing. I like writing because ultimately it is YOUR story. YOU can envision anything in your writing and be as creative as you want. 

I enjoy writing now because I am good at it. I like being able to write about whatever I want. When I get writing assignments at school, I don’t really like it or want to do it. Most of the time these writings don’t matter to me because I don’t really have a connection to the writing. It just feels forced to write something assigned to me. I feel proud once I am done writing because I can see my own story unfold, and I see all my creative thoughts on paper. One thing that intimidates me is the time I have to dedicate to writing the story. I tend to procrastinate a lot, but I think this has made me a better writer. It has taught me how to write under pressure. 

I am still learning many things about writing. I view myself as a pretty good reader and writer. I see myself writing more in the future as I learn more aspects of language and literature. I enjoy reading and writing, but still have WAY more to learn about it.

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Joan Didion: Why I Write

"i write entirely to find out what i’m thinking, what i’m looking at, what i see and what it means.".

Of course I stole the title for this talk from George Orwell. One reason I stole it was that I like the sound of the words: Why I Write. There you have three short unambiguous words that share a sound, and the sound they share is this:

In many ways, writing is the act of saying I, of imposing oneself upon other people, of saying listen to me, see it my way, change your mind . It’s an aggressive, even a hostile act. You can disguise its aggressiveness all you want with veils of subordinate clauses and qualifiers and tentative subjunctives, with ellipses and evasions—with the whole manner of intimating rather than claiming, of alluding rather than stating—but there’s no getting around the fact that setting words on paper is the tactic of a secret bully, an invasion, an imposition of the writer’s sensibility on the reader’s most private space.

I stole the title not only because the words sounded right but because they seemed to sum up, in a no-nonsense way, all I have to tell you. Like many writers I have only this one “subject,” this one “area”: the act of writing. I can bring you no reports from any other front. I may have other interests: I am “interested,” for example, in marine biology, but I don’t flatter myself that you would come out to hear me talk about it. I am not a scholar. I am not in the least an intellectual, which is not to say that when I hear the word “intellectual” I reach for my gun, but only to say that I do not think in abstracts. During the years when I was an undergraduate at Berkeley I tried, with a kind of hopeless late-adolescent energy, to buy some temporary visa into the world of ideas, to forge for myself a mind that could deal with the abstract.

In short I tried to think. I failed. My attention veered inexorably back to the specific, to the tangible, to what was generally considered, by everyone I knew then and for that matter have known since, the peripheral. I would try to contemplate the Hegelian dialectic and would find myself concentrating instead on a flowering pear tree outside my window and the particular way the petals fell on my floor. I would try to read linguistic theory and would find myself wondering instead if the lights were on in the Bevatron up the hill. When I say that I was wondering if the lights were on in the Bevatron you might immediately suspect, if you deal in ideas at all, that I was registering the Bevatron as a political symbol, thinking in shorthand about the military-industrial complex and its role in the university community, but you would be wrong. I was only wondering if the lights were on in the Bevatron, and how they looked. A physical fact.

I had trouble graduating from Berkeley, not because of this inability to deal with ideas—I was majoring in English, and I could locate the house-and-garden imagery in The Portrait of a Lady as well as the next person, “imagery” being by definition the kind of specific that got my attention—but simply because I had neglected to take a course in Milton. For reasons which now sound baroque I needed a degree by the end of that summer, and the English department finally agreed, if I would come down from Sacramento every Friday and talk about the cosmology of Paradise Lost , to certify me proficient in Milton. I did this. Some Fridays I took the Greyhound bus, other Fridays I caught the Southern Pacific’s City of San Francisco on the last leg of its transcontinental trip. I can no longer tell you whether Milton put the sun or the earth at the center of his universe in Paradise Lost , the central question of at least one century and a topic about which I wrote ten thousand words that summer, but I can still recall the exact rancidity of the butter in the City of San Francisco’s dining car, and the way the tinted windows on the Greyhound bus cast the oil refineries around Carquinez Strait into a grayed and obscurely sinister light. In short my attention was always on the periphery, on what I could see and taste and touch, on the butter, and the Greyhound bus. During those years I was traveling on what I knew to be a very shaky passport, forged papers: I knew that I was no legitimate resident in any world of ideas. I knew I couldn’t think. All I knew then was what I couldn’t do. All I knew then was what I wasn’t, and it took me some years to discover what I was.

Which was a writer.

By which I mean not a “good” writer or a “bad” writer but simply a writer, a person whose most absorbed and passionate hours are spent arranging words on pieces of paper. Had my credentials been in order I would never have become a writer. Had I been blessed with even limited access to my own mind there would have been no reason to write. I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear. 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?

When I talk about pictures in my mind I am talking, quite specifically, about images that shimmer around the edges. There used to be an illustration in every elementary psychology book showing a cat drawn by a patient in varying stages of schizophrenia. This cat had a shimmer around it. You could see the molecular structure breaking down at the very edges of the cat: the cat became the background and the background the cat, everything interacting, exchanging ions. People on hallucinogens describe the same perception of objects. I’m not a schizophrenic, nor do I take hallucinogens, but certain images do shimmer for me. Look hard enough, and you can’t miss the shimmer. It’s there. You can’t think too much about these pictures that shimmer. You just lie low and let them develop. You stay quiet. You don’t talk to many people and you keep your nervous system from shorting out and you try to locate the cat in the shimmer, the grammar in the picture.

Just as I meant “shimmer” literally I mean “grammar” literally. Grammar is a piano I play by ear, since I seem to have been out of school the year the rules were mentioned. All I know about grammar is its infinite power. To shift the structure of a sentence alters the meaning of that sentence, as definitely and inflexibly as the position of a camera alters the meaning of the object photographed. Many people know about camera angles now, but not so many know about sentences. 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. The picture dictates whether this will be a sentence with or without clauses, a sentence that ends hard or a dying-fall sentence, long or short, active or passive. The picture tells you how to arrange the words and the arrangement of the words tells you, or tells me, what’s going on in the picture. Nota bene:

It tells you.

You don’t tell it.

Let me show you what I mean by pictures in the mind. I began Play It as It Lays just as I have begun each of my novels, with no notion of “character” or “plot” or even “incident.” I had only two pictures in my mind, more about which later, and a technical intention, which was to write a novel so elliptical and fast that it would be over before you noticed it, a novel so fast that it would scarcely exist on the page at all. About the pictures: the first was of white space. Empty space. This was clearly the picture that dictated the narrative intention of the book—a book in which anything that happened would happen off the page, a “white” book to which the reader would have to bring his or her own bad dreams—and yet this picture told me no “story,” suggested no situation. The second picture did. This second picture was of something actually witnessed. A young woman with long hair and a short white halter dress walks through the casino at the Riviera in Las Vegas at one in the morning. She crosses the casino alone and picks up a house telephone. I watch her because I have heard her paged, and recognize her name: she is a minor actress I see around Los Angeles from time to time, in places like Jax and once in a gynecologist’s office in the Beverly Hills Clinic, but have never met. I know nothing about her. Who is paging her? Why is she here to be paged? How exactly did she come to this? It was precisely this moment in Las Vegas that made Play It as It Lays begin to tell itself to me, but the moment appears in the novel only obliquely, in a chapter which begins:

Maria made a list of things she would never do. She would never: walk through the Sands or Caesar’s alone after midnight. She would never: ball at a party, do S-M unless she wanted to, borrow furs from Abe Lipsey, deal. She would never: carry a Yorkshire in Beverly Hills.

That is the beginning of the chapter and that is also the end of the chapter, which may suggest what I meant by “white space.”

I recall having a number of pictures in my mind when I began the novel I just finished, A Book of Common Prayer . As a matter of fact one of these pictures was of that Bevatron I mentioned, although I would be hard put to tell you a story in which nuclear energy figures. Another was a newspaper photograph of a hijacked 707 burning on the desert in the Middle East. Another was the night view from a room in which I once spent a week with paratyphoid, a hotel room on the Colombian coast. My husband and I seemed to be on the Colombian coast representing the United States of America at a film festival (I recall invoking the name Jack Valenti a lot, as if its reiteration could make me well), and it was a bad place to have fever, not only because my indisposition offended our hosts but because every night in this hotel the generator failed. The lights went out. The elevator stopped. My husband would go to the event of the evening and make excuses for me and I would stay alone in this hotel room, in the dark. I remember standing at the window trying to call Bogotá (the telephone seemed to work on the same principle as the generator) and watching the night wind come up and wondering what I was doing eleven degrees off the equator with a fever of 103. The view from that window definitely figures in A Book of Common Prayer , as does the burning 707, and yet none of these pictures told me the story I needed.

The picture that did, the picture that shimmered and made these other images coalesce, was of the Panama airport at 6 am. I was in this airport only once, on a plane to Bogotá that stopped for an hour to refuel, but the way it looked that morning remained superimposed on everything I saw until the day I finished A Book of Common Prayer . I lived in that airport for several years. I can still feel the hot air when I step off the plane, can see the heat already rising off the tarmac at 6:00 a.m. I can feel the skirt damp and wrinkled on my legs. I can feel the asphalt stick to my sandals. I remember the big tail of a Pan American plane floating motionless down at the end of the tarmac. I remember the sound of a slot machine in the waiting room. I could tell you that I remember a particular woman in the airport, an American woman, a norteamericana , a thin norteamericana about forty who wore a big square emerald in lieu of a wedding ring, but there was no such woman there.

I put this woman in the airport later. I made this woman up, just as I later made up a country to put the airport in, and a family to run the country. This woman in the airport is neither catching a plane nor meeting one. She is ordering tea in the airport coffee shop. In fact she is not simply “ordering” tea but insisting that the water be boiled, in front of her, for twenty minutes. Why is this woman in this airport? Why is she going nowhere, where has she been? Where did she get that big emerald? What derangement, or disassociation, makes her believe that her will to see the water boiled can possibly prevail?

She had been going to one airport or another for four months, one could see it, looking at the visas on her passport. All those airports where Charlotte Douglas’s passport had been stamped would have looked alike. Sometimes the sign on the tower would say “BIENVENIDOS” and sometimes the sign on the tower would say “BIENVENUE,” some places were wet and hot and others were dry and hot, but at each of these airports the pastel concrete walls would rust and stain and the swamp off the runway would be littered with the fuselages of cannibalized Fairchild F-227s and the water would need boiling.

I knew why Charlotte went to the airport even if Victor did not. I knew about airports.

These lines appear about halfway through A Book of Common Prayer , but I wrote them during the second week I worked on the book, long before I had any idea where Charlotte Douglas had been or why she went to airports. Until I wrote these lines I had no character called Victor in mind: the necessity for mentioning a name, and the name Victor, occurred to me as I wrote the sentence. I knew why Charlotte went to the airport sounded incomplete. I knew why Charlotte went to the airport even if Victor did not carried a little more narrative drive. Most important of all, until I wrote these lines I did not know who “I” was, who was telling the story. I had intended until that moment that the “I” be no more than the voice of the author, a nineteenth-century omniscient narrator. But there it was:

“I knew why Charlotte went to the airport even if Victor did not.”

“I knew about airports.”

This “I” was the voice of no author in my house. This “I” was someone who not only knew why Charlotte went to the airport but also knew someone called Victor. Who was Victor? Who was this narrator? Why was this narrator telling me this story? Let me tell you one thing about why writers write: had I known the answer to any of these questions I would never have needed to write a novel.

__________________________________

Excerpted from Let Me Tell You What I Mean by Joan Didion. Copyright © 2021 by Joan Didion. Excerpted by permission of Alfred A. Knopf, a division of Penguin Random House LLC. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

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The art and life of Mark di Suvero

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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.

Essay Writing Tips: 10 Steps to Writing a Great Essay (And Have Fun Doing It!)

by Joe Bunting | 118 comments

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Do you dread essay writing? Are you looking for some essay tips that will help you write an amazing essay—and have fun doing it?

Lots of students, young and old, dread essay writing. It's a daunting assignment, one that takes research, time, and concentration.

It's also an assignment that you can break up into simple steps that make writing an essay manageable and, yes, even enjoyable.

These ten essay tips completely changed my writing process—and I hope that they can do the same for you.

Essay Writing Can Be Fun

Honestly, throughout most of high school and college, I was a mediocre essay writer.

Every once in a while, I would write a really good essay, but mostly I skated by with B's and A-minuses.

I know personally how boring writing an essay can be, and also, how hard it can be to write a good one.

However, toward the end of my time as a student, I made a breakthrough. I figured out how to not only write a great essay, I learned how to have fun while doing it . 

And since then, I've become a professional writer and have written more than a dozen books. I'm not saying that these essay writing tips are going to magically turn you into a writer, but at least they can help you enjoy the process more.

I'm excited to share these ten essay writing tips with you today! But first, we need to talk about why writing an essay is so hard.

Why Writing an Essay Is So Hard

When it comes to essay writing, a lot of students find a reason to put it off. And when they tackle it, they find it difficult to string sentences together that sound like a decent stance on the assigned subject.

Here are a few reasons why essay writing is hard:

• You'd rather be scrolling through Facebook
• You're trying to write something your teacher or professor will like
• You're trying to get an A instead of writing something that's actually good
• You want to do the least amount of work possible

The biggest reason writing an essay is so hard is because we mostly focus on those external  rewards like getting a passing grade, winning our teacher's approval, or just avoiding accusations of plagiarism.

The problem is that when you focus on external approval it not only makes writing much less fun, it also makes it significantly harder.

Because when you focus on external approval, you shut down your subconscious, and the subconscious is the source of your creativity.

The subconscious is the source of your creativity.

What this means practically is that when you're trying to write that perfect, A-plus-worthy sentence, you're turning off most of your best resources and writing skills.

So stop. Stop trying to write a good essay (or even a “good-enough” essay). Instead, write an interesting  essay, write an essay you think is fascinating. And when you're finished, go back and edit it until it's “good” according to your teacher's standards.

Yes, you need to follow the guidelines in your assignment. If your teacher tells you to write a five-paragraph essay, then write a five-paragraph essay! If your teacher asks for a specific type of essay, like an analysis, argument, or research essay, then make sure you write that type of essay!

However, within those guidelines, find room to express something that is uniquely you .

I can't guarantee you'll get a higher grade (although, you almost certainly will), but I can absolutely promise you'll have a lot more fun writing.

The Step-by-Step Process to Writing a Great Essay: Your 10 Essay Writing Tips

Ready to get writing? You can read my ten best tips for having fun while writing an essay that earns you the top grade, or check out this presentation designed by our friends at Canva Presentations .

1. Remember your essay is just a story.

Every story is about conflict and change, and the truth is that essays are about conflict and change, too! The difference is that in an essay, the conflict is between different ideas , and the change is in the way we should perceive those ideas.

That means that the best essays are about surprise: “You probably think it's one way, but in reality, you should think of it this other way.” See tip #3 for more on this.

How do you know what story you're telling? The prompt should tell you.

Any list of essay prompts includes various topics and tasks associated with them. Within those topics are characters (historical, fictional, or topical) faced with difficult choices. Your job is to work with those choices, usually by analyzing them, arguing about them, researching them, or describing them in detail.

2. Before you start writing, ask yourself, “How can I have the most fun writing this?”

It's normal to feel unmotivated when writing an academic essay. I'm a writer, and honestly, I feel unmotivated to write all the time. But I have a super-ninja, judo-mind trick I like to use to help motivate myself.

Here's the secret trick: One of the interesting things about your subconscious is that it will answer any question you ask yourself. So whenever you feel unmotivated to write your essay, ask yourself the following question:

“How much fun can I have writing this?”

Your subconscious will immediately start thinking of strategies to make the writing process more fun.

The best time to have your fun is the first draft. Since you're just brainstorming within the topic, and exploring the possible ways of approaching it, the first draft is the perfect place to get creative and even a little scandalous. Here are some wild suggestions to make your next essay a load of fun:

• Research the most surprising or outrageous fact about the topic and use it as your hook.
• Use a thesaurus to research the topic's key words. Get crazy with your vocabulary as you write, working in each key word synonym as much as possible.
• Play devil's advocate and take the opposing or immoral side of the issue. See where the discussion takes you as you write.

3. As you research, ask yourself, “What surprises me about this subject?”

The temptation, when you're writing an essay, is to write what you think your teacher or professor wants to read.

Don't do this .

Instead, ask yourself, “What do I find interesting about this subject? What surprises me?”

If you can't think of anything that surprises you, anything you find interesting, then you're not searching well enough, because history, science, and literature are all brimming   over with surprises. When you look at how great ideas actually happen, the story is always, “We used  to think the world was this way. We found out we were completely wrong, and that the world is actually quite different from what we thought.”

These pieces of surprising information often make for the best topic sentences as well. Use them to outline your essay and build your body paragraphs off of each unique fact or idea. These will function as excellent hooks for your reader as you transition from one topic to the next.

(By the way, what sources should you use for research? Check out tip #10 below.)

4. Overwhelmed? Write five original sentences.

The standard three-point essay is really made up of just five original sentences surrounded by supporting paragraphs that back up those five sentences. If you're feeling overwhelmed, just write five sentences covering your most basic main points.

Here's what they might look like for this article:

• Introductory Paragraph:  While most students consider writing an essay a boring task, with the right mindset, it can actually be an enjoyable experience.
• Body #1: Most students think writing an essay is tedious because they focus on external rewards.
• Body #2: Students should instead focus on internal fulfillment when writing an essay.
• Body #3: Not only will focusing on internal fulfillment allow students to have more fun, it will also result in better essays.
• Conclusion: Writing an essay doesn't have to be simply a way to earn a good grade. Instead, it can be a means of finding fulfillment.

After you write your five sentences, it's easy to fill in the paragraphs for each one.

Now, you give it a shot!

5. Be “source heavy.”

In college, I discovered a trick that helped me go from a B-average student to an A-student, but before I explain how it works, let me warn you. This technique is powerful , but it might not work for all teachers or professors. Use with caution.

As I was writing a paper for a literature class, I realized that the articles and books I was reading said what I was trying to say much better than I ever could. So what did I do? I quoted them liberally throughout my paper. When I wasn't quoting, I re-phrased what they said in my own words, giving proper credit, of course. I found that not only did this formula create a well-written essay, it took about half the time to write.

It's good to keep in mind that using anyone else's words, even when morphed into your own phrasing, requires citation. While the definition of plagiarism is shifting with the rise of online collaboration and cooperative learning environments, always  err on the side of excessive citation to be safe.

When I used this technique, my professors sometimes mentioned that my papers were very “source” heavy. However, at the same time, they always gave me A's.

To keep yourself safe, I recommend using a 60/40 approach with your body paragraphs: Make sure 60% of the words are your own analysis and argumentation, while 40% can be quoted (or text you paraphrase) from your sources.

Like the five sentence trick, this technique makes the writing process simpler. Instead of putting the main focus on writing well, it instead forces you to research  well, which some students find easier.

6. Write the body first, the introduction second, and the conclusion last.

Introductions are often the hardest part to write because you're trying to summarize your entire essay before you've even written it yet. Instead, try writing your introduction last, giving yourself the body of the paper to figure out the main point of your essay.

This is especially important with an essay topic you are not personally interested in. I definitely recommend this in classes you either don't excel in or care much for. Take plenty of time to draft and revise your body paragraphs before  attempting to craft a meaningful introductory paragraph.

Otherwise your opening may sound awkward, wooden, and bland.

7. Most essays answer the question, “What?” Good essays answer the “Why?” The best essays answer the “How?”

If you get stuck trying to make your argument, or you're struggling to reach the required word count, try focusing on the question, “How?”

For example:

• How did J.D. Salinger convey the theme of inauthenticity in  The Catcher In the Rye ?
• How did Napoleon restore stability in France after the French Revolution?
• How does the research prove girls really do rule and boys really do drool?

If you focus on how, you'll always have enough to write about.

8. Don't be afraid to jump around.

Essay writing can be a dance. You don't have to stay in one place and write from beginning to end.

For the same reasons listed in point #6, give yourself the freedom to write as if you're circling around your topic rather than making a single, straightforward argument. Then, when you edit and proofread, you can make sure everything lines up correctly.

In fact, now is the perfect time to mention that proofreading your essay isn't just about spelling and commas.

It's about making sure your analysis or argument flows smoothly from one idea to another. (Okay, technically this comprises editing, but most students writing a high school or college essay don't take the time to complete every step of the writing process. Let's be honest.)

So as you clean up your mechanics and sentence structure, make sure your ideas flow smoothly, logically, and naturally from one to the next as you finish proofreading.

9. Here are some words and phrases you don't want to use.

• You  (You'll notice I use a lot of you's, which is great for a blog post. However, in an academic essay, it's better to omit the second-person.)
• To Be verbs (is, are, was, were, am)

Don't have time to edit? Here's a lightning-quick editing technique .

A note about “I”: Some teachers say you shouldn't use “I” statements in your writing, but the truth is that professional, academic papers often use phrases like “I believe” and “in my opinion,” especially in their introductions.

10. It's okay to use Wikipedia, if…

Wikipedia is one of the top five websites in the world for a reason: it can be a great tool for research. However, most teachers and professors don't consider Wikipedia a valid source for use in essays.

Don't totally discount it, though! Here are two ways you can use Wikipedia in your essay writing:

• Background research. If you don't know enough about your topic, Wikipedia can be a great resource to quickly learn everything you need to know to get started.
• Find sources . Check the reference section of Wikipedia's articles on your topic. While you may not be able to cite Wikipedia itself, you can often find those original sources and cite them . You can locate the links to primary and secondary sources at the bottom of any Wikipedia page under the headings “Further Reading” and “References.”

You Can Enjoy Essay Writing

The thing I regret most about high school and college is that I treated it like something I had  to do rather than something I wanted  to do.

The truth is, education is an opportunity many people in the world don't have access to.

It's a gift, not just something that makes your life more difficult. I don't want you to make the mistake of just “getting by” through school, waiting desperately for summer breaks and, eventually, graduation.

How would your life be better if you actively enjoyed writing an essay? What would school look like if you wanted to suck it dry of all the gifts it has to give you?

All I'm saying is, don't miss out!

Looking for More Essay Writing Tips?

Looking for more essay tips to strengthen your essay writing? Try some of these resources:

• 7 Tips on Writing an Effective Essay
• Tips for Writing Your Thesis Statement

How about you? Do you have any tips for writing an essay?  Let us know in the  comments .

Need more grammar help?  My favorite tool that helps find grammar problems and even generates reports to help improve my writing is ProWritingAid . Works with Word, Scrivener, Google Docs, and web browsers. Also, be sure to use my coupon code to get 20 percent off: WritePractice20

Coupon Code:WritePractice20 »

Ready to try out these ten essay tips to make your essay assignment fun? Spend fifteen minutes using tip #4 and write five original sentences that could be turned into an essay.

When you're finished, share your five sentences in the comments section. And don't forget to give feedback to your fellow writers!

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Joe Bunting

Joe Bunting is an author and the leader of The Write Practice community. He is also the author of the new book Crowdsourcing Paris , a real life adventure story set in France. It was a #1 New Release on Amazon. Follow him on Instagram (@jhbunting).

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What Do You Love Most About Writing?

You’re a writer and you love writing. Right? It’s hard work, sure, but you know you love it.

Don’t deny it. Are there times when you hate it? Of course. It’s tough when the words don’t come and your fingers won’t move, and nothing irritates you more than someone saying, “Just start.” or “Just write.”

Yeah, there’s a bridge, just jump why don’t you? Because it’s not that easy. So when it comes to writing it helps to remind yourself, not only why you started writing, but more along the lines of what do you LOVE most about writing?

I want you to think about that. Seriously. It’s important. By the end of this post have your answer ready, you’re going to need it.

Quotes from writers about what they love most about writing:

I’ve been a member of an online writing course, Tribe Writers, for about 3 years. The course is taught by the blogging Jedi, Jeff Goins. What started out as a writing course has turned into a wonderful writing community where I enjoy hanging my hat.

Tribe Writers are great people, doing great things and so I asked them earlier this week if they would share quotes for this post about what they love most about writing. These quotes should prove inspirational and remind you why you love writing, too.

Here are their answers:

Writing helps me see the joy in being alive. ― Pamela Hodges www.ipaintiwrite.com

Writing is like a soothing balm to my soul – cleansing, refreshing, and renews life within! ― Clara Lucca Hinton www.silentgriefsupport.com

What I love most about writing are the moments of resonance: when my words sound in someone and bring the healing, laughter, or understanding they need to live out loud. ― Dayna Bickham www.daynabickham.com

Writing allows me to share what’s inside to those on the outside. Writing allows me to be connected to other souls. ― David Mike www.dilemmamike.com

When I write, I feel like the truest version of myself. ― Nicole Gulotta www.eatthispoem.com

Because of writing I believe I can live a story as good as the one I’m telling. And I believe I can help others live a better one too. ― Marshall Coleman www.marshallcoleman.net

Writing is a gift we give ourselves as we allow life affirming truths flow through us to others. ― Susan Scott www.SusanAScott.com

Writing lets you grow where you are planted. No matter your circumstances, you can always write about where you are. ― Don Abbott www.thesnarkygardener.com

You can write your way out of writer’s doubt. The more you write, the more you’ll believe you can. ― Lorna Faith www.lornafaith.com

Some things in life are best first written down and writing them down is sometimes better than opening one’s mouth before we’ve thought it through. Once written, too much thinking might be like putting water into wine!. ― Robert Hamilton www.writehonest.com

Writing lets me capture ideas and passions and blogging helps me index them for reflection. ― Brooke Gordon www.weekbyweek.ca

I believe in the power of words. I have been changed by the words in books. I write to prevent child abuse, to improve the lives of parents, and eventually change the next generation. ― Jayna Coppedge www.jaynac.com

I write to remind myself of what’s true, to find beauty & hope, to build a better future, create a brighter world. ― Sarah Simmons www.beautifulbetween.com

Writing gives a home to all the random, disconnected thoughts which run through my mind keeping me awake at night. I get to create something cohesive and beautiful and to touch others with my words in the process. ― Kamsin Kaneko www.lifeinthekeyofe.com

Writing helps me escape reality, create new realities, and connect with real people and places in amazing ways. I love writing. ― David Villalva www.davidvillalva.com

I love the fact that I can create a whole new world, something no one else has ever seen. And through that world, I can communicate truth and beauty and grace. Things there aren’t enough of in this world. ― Nicole Mackey www.nicolemackey.com

Writing reminds me of who I really am. It gives voice to the whisper inside me in a loud world. ― Becky Hastings www.myinkdance.com

Writing gives me the ultimate freedom of self-expression without limits. ― Sean Van Zant www.lovinggodlovingpeople.net

Writing is something I cannot, not, do. America needs wisdom on how to create healthier relationships. I am committed to writing and sharing 33 years of research and study to this end. ― Kellie Frazier www.lovedifferently.info

Writing is like a prayer, whispered in words channeled through my fingers: From my muse to you. ― Sandra Gardner www.tallredpoppy.com

I love writing and being able to connect people with the emotions they’ve lost. ― Anne Gollias Peterson www.annepeterson.com

Thank you, Tribe Writers . Awesome!

You want to know what I love most about writing?

The people I meet.

I love getting together with fellow writers in the trenches. I love talking about writing. I love reading about writing. I love writing. But what I love most about writing is that it brings me together with a wonder group of people who are writers.

Really. I’m tearing up. I love you people! Dang it.

So now it’s your turn. Remember, I asked you to be ready with your answer by the end of this post.

What I would like you to do is post your answer as to what you love most about writing in the comments, and as did my fellow Tribe Writers above, include your blog or website’s address.

Have fun! C’mon, don’t be shy. You know you love writing and now it’s time to share the reason and inspire someone else.

Bryan Hutchinson

I became a writer because I saw a ghost. I had my first paranormal experience when I was 8 years old. At first, I thought it was just me and that I had 'night terrors.' It turns out that I wasn't imagining things. I've wanted to write about that experience for over 30 years. And so, yes, it literally is the reason I became a writer. Now, I've finally done it! I've written the story. You can get a copy at most online booksellers, or click here .

I’m a Writer! But I Feel Like a Fake, A Ridiculous Phony

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A Summary and Analysis of George Orwell’s ‘Why I Write’

By Dr Oliver Tearle (Loughborough University)

‘Why I Write’ is an essay by George Orwell, published in 1946 after the publication of his novella Animal Farm and before he wrote his final novel, Nineteen Eighty-Four . The essay is an insightful piece of memoir about Orwell’s early years and how he developed as a writer, from harbouring ambitions to write self-consciously literary works to developing, in the 1930s, into the author of sharp political commentary in both fiction and non-fiction.

You can read ‘Why I Write’ here before proceeding to our summary and analysis of Orwell’s essay below.

‘Why I Write’: summary

Orwell begins by observing that he knew he should be a writer from a very young age. Although in early adulthood he tried to ‘abandon’ the idea, he knew it was his true calling and that he would eventually ‘settle down and write books’.

He tells us that he was a lonely child who would make up stories and hold conversations with imaginary people, and that his own desire to write is linked to this childhood loneliness. During the First World War, when Orwell was still a child, he had two poems published in the local newspaper, and that was the beginning of his publishing career.

In his youth, he continued to think like a writer, making up a ‘continuous “story” about myself’, but never writing it down. When he was in his twenties, he had ambitions of writing ‘enormous naturalistic novels with unhappy endings, full of detailed descriptions and arresting similes, and also full of purple passages in which words were used partly for the sake of their sound’. Orwell calls his first novel, Burmese Days (1934), this kind of book.

Orwell then outlines what he sees as four chief motives for anyone becoming a writer: 1) egoism; 2) aesthetic enthusiasm; 3) historical impulse; and 4) political purpose.

Egoism is the desire to be thought clever, be talked about when alive, and remembered after death. Aesthetic enthusiasm is the perception of beauty in the world around the writer, as well as the beauty of language. The historical impulse is a desire to see things as they are and present the facts to readers. Political purpose is the urge to change people’s views of the kind of society they want to live in.

This last one is a matter of degree, because Orwell argues that every writer adopts some kind of political position: ‘Once again, no book is genuinely free from political bias. The opinion that art should have nothing to do with politics is itself a political attitude.’

Perhaps surprisingly given he is principally known for ‘political’ writing, Orwell confides that by nature he is someone for whom the first three motives would usually outweigh the fourth. But when the Spanish Civil War broke out in 1936, Orwell knew where he stood. As he famously declares: ‘Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic socialism, as I understand it.’

Orwell concludes ‘Why I Write’ by stating that in the decade since 1936 he has tried to turn political writing ‘into an art’. Although he acknowledges that his impulse has not been entirely public-spirited but just as egoistic and ‘vain’ as it is in most writers, he knows that ‘one can write nothing readable unless one constantly struggles to efface one’s own personality.’ The political scene has helped Orwell to sharpen his own writing.

‘Why I Write’: analysis

Orwell’s essay is of interest as a piece of autobiography, but Orwell extrapolates from his own personal background and literary trajectory to make more universal statements about good writing, and the reasons why all writers choose to write for a living (if they’re indeed lucky enough to do it for a living: in his ‘ Confessions of a Book Reviewer ’, also from 1946, he brilliantly outlines the absurd and stressful existence of struggling writers surviving on hackwork for newspapers and magazines, just to pay that month’s rent).

One of the key insights in ‘Why I Write’ is the link Orwell makes between his own efforts to become a successful writer and the broader political scene in Europe (and beyond) at the time. The Spanish Civil War, and the rise of Nazism, fascism, and Stalinism, all gave him a clear sense of what he should write about. As he puts it, all of his serious work written since has been ‘ against totalitarianism and for democratic socialism’.

We find this even in an essay like ‘ Politics vs. Literature: An Examination of Gulliver’s Travels ’ (which, along with his analysis of Dickens’s art, shows what a fine and sensitive literary critic Orwell was), another 1946 essay, in which Orwell argues that in Book IV of Gulliver’s Travels , Jonathan Swift depicts what we would now call a totalitarian society. But because Gulliver (and, presumably, by extension, Swift himself) approves of the Houyhnhnms’ society, Swift admires the idea of a totalitarian state in which dissident opinion is unacceptable.

The point is that when he lacked a clear motivation for writing fiction, he churned out ‘lifeless’ work (much of which, such as his novel A Clergyman’s Daughter , a kind of Joycean work in many ways, he later disowned, calling it ‘tripe’).

But once he realised what his subject-matter should be, this new-found ‘political purpose’ sharpened his prose. In a sense, the fourth of Orwell’s listed motives brought the other three into a new perspective. His clearest and most detailed account of what constitutes good political writing is his essay ‘ Politics and the English Language ’ (also from 1946), which we have analysed here .

In 1976, Joan Didion wrote her own essay called ‘ Why I Write ’, in which she acknowledged that she had taken her title from George Orwell. She also drew attention to the triple-assonance in Orwell’s title, the long I sounds of ‘Why I Write’.

Even Orwell’s title is itself an example of the clear-minded simplicity which he identifies as the chief feature of good writing at the end of ‘Why I Write’: ‘Good prose is like a window pane.’ But as so often with Orwell’s work, he is not just writing about himself, but drawing attention to far more widespread truths about what motivates an author to devote their lives to writing.

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Modern Love

How We Write About Love

By Daniel Jones

• Feb. 5, 2015

A few months ago, I read several articles touting the health benefits of writing in a deeply personal way. Studies had shown that writing introspectively on a regular basis can lead to lowered blood pressure, improved liver function and even the accelerated healing of postoperative wounds. The study’s subjects had been told to write for short periods each day about turbulent emotional experiences.

I bet a lot of them wrote about love. As the editor of this column, I have spent much of the last decade reading stories of people’s turbulent emotional experiences. They all involved love in one way or another.

Which isn’t so surprising. Who hasn’t been stirred up by love? But these writers had spun their experiences into stories and sent them here, where more than 99 percent must be turned away.

Although the would-be contributors may be happy to learn of the surprising health benefits of their writing, I think they hoped for a more glamorous reward than improved liver function.

Lately I have been thinking about those tens of thousands of passed-over stories and all the questions and lessons about love they represent. When taken together, what does all this writing reveal about us, or about love? Here’s what I have found.

First, and most basic: How we write about love depends on how old we are.

The young overwhelmingly write with a mixture of anxiety and hope. Their stories ask: What is it going to be for me?

Those in midlife are more often driven to their keyboards by feelings of malaise and disillusionment. Their stories ask: Is this really what it is for me?

And older people almost always write from a place of appreciation, regardless of how difficult things may be. Their message: All things considered, I feel pretty lucky.

In writing about love, the story of how we met looms large because a lot of us believe, validly or not, that a good meeting story bodes well for the relationship.

What do we consider to be a good meeting story? When it involves chance more than effort. You get bonus points if the chance encounter suggests compatibility, like mistakenly wheeling off with each other’s shopping carts at Whole Foods because your items had so much overlap, you got the carts mixed up.

“I get those beets all the time!” “You like Erewhon Supergrains, too?”

Pretty soon it’s time to get a room.

It seems the harder we work at finding love, the more prone we are to second-guessing the results. High-volume online daters worry about this, along with those who routinely attend singles events.

The fear is we may force things or compromise after pushing so hard for so long. We may admire hard work in most endeavors, but we admire laziness when it comes to finding love. (If you manage to stay together over the long haul, however, it will be because of effort, not chance.)

When some people write about love, they can’t find the right words to capture the intensity of their feelings, so they rely on stock terms that are best avoided. These include (but are not limited to): amazing, gorgeous, devastating, crushed, smitten, soul mate and electrifying.

Popular phrases include: “meet cute,” “heart pounded,” “heart melted,” “I’ll always remember,” “I’ll never forget” and “Reader, I married him.” Then there is everyone’s favorite stock word regardless of subject: literally. As in, “our date was literally electrifying.”

Women and men may feel love similarly, but they write about it differently.

A lot of men’s stories seem tinged by regret and nostalgia. They wish previous relationships hadn’t ended or romantic opportunities hadn’t slipped away. They lament not having been more emotionally open with lovers, wives, parents and children.

Women are more inclined to write with restlessness. They want to figure love out. Many keep mental lists of their expectations, detailing the characteristics of their hoped-for partner with alarming specificity and then evaluating how a new romantic interest does or doesn’t match that type.

They write something like, “I always pictured myself with someone taller, a guy with cropped brown hair and wire-rim glasses who wears khakis or jeans, the kind of person who would bring me tea in bed and read the Sunday paper with me on the couch.”

Men almost never describe the characteristics of their ideal partner in this way. Even if they have a specific picture in mind, few will put that vision to paper. I wonder if they’re embarrassed to.

Another list women frequently pull together is “The List of Flawed Men,” in which they dismiss each man they have gone out with over the last year with a single phrase. There was the slob with the sideburns, the med student who smoked too much pot, the gentle Texan who made felt hats but couldn’t commit, and the physically affectionate finance guy who always dropped her hand when he saw his friends.

This series of bad encounters has left them exasperated to the point of hopelessness, so they try to see the humor in it.

Men rarely compose that kind of list, either. In this case, I wonder if it’s because they’re afraid to, not wanting to be seen as belittling women. In general, men write more cautiously about women than the other way around.

Love stories are full of romantic delusion, idealizing love to an unhealthy degree. But in the accounts I see, men and women delude themselves in opposite directions.

A woman is more likely to believe her romantic ideal awaits somewhere in the future, where her long-held fantasy becomes a flesh-and-blood reality.

A man’s romantic ideal typically exists somewhere in the past in the form of an actual person he loved but let go of, or who got away. And he keeps going back to her in his mind, and probably also on Facebook and Instagram, thinking, “What if?”

I don’t know if men are worse than women when it comes to romantic rejection; they are clearly worse when it comes to literary rejection. Even though only 20 percent of submissions come from men, they send more than 90 percent of the angry emails I receive in response to being turned down. To these men, no does not mean no. No means the start of an inquiry as to how this possibly could have happened.

One man sneered at me: “You didn’t even read it, dude.”

To which I replied, sincerely: “Dude, I totally did.”

Writing about love can be similar to falling in love in that we must be as vulnerable on the page as we are in person when revealing ourselves to someone we hope will love us back. That means exposing our flaws and weaknesses and trusting we will be seen as more appealing, not less, for having done so.

Good writing about love features the same virtues that define a good relationship: honesty, generosity, open-mindedness, curiosity, humor and self-deprecation. Bad writing about love suffers from the same flaws that define a bad relationship: dishonesty, withholding, defensiveness, blame, pettiness and egotism.

It has been remarkable to watch the evolution in stories I have received from gay and lesbian writers. A decade ago, their stories focused on issues of marginalization, identity, coming out, and of strains with family members. Within a few years, their focus had turned overtly political in the fight for equality and marriage.

Today, gay writers have largely shed that baggage. They write about looking for love, marrying, starting a family, being a parent, even getting divorced. Sexual orientation that had once been central is now incidental. Which seems like a nice change.

With Valentine’s Day near and the right words about love always so hard to find, let me close by simply wishing you an amazing celebration of electrifying romance you never forget and always remember.

Attention College Students

If you have a personal story that illustrates the current state of love and relationships, email it to us at [email protected]. The winning author will receive $1,000 and the essay will be published in a special Modern Love column in May.

Details appear at nytimes.com/modernlovecontest . For more information and commentary as the contest progresses, follow Modern Love on Facebook ( facebook.com/modernlove ) and the Modern Love editor on Twitter: @danjonesnyt .

Modern Love College Essay Contest

We invited college students nationwide to open their hearts and laptops and write an essay that tells the truth about what love is like for them today.

Daniel Jones is the author of “Love Illuminated: Exploring Life’s Most Mystifying Subject (With the Help of 50,000 Strangers),” just out in paperback.

E-MAIL [email protected]

LIVE CHAT: Daniel Jones will be answering readers' questions about trends and fads in love and dating on Feb. 13 at 2 p.m. E.S.T. at facebook.com/modernlove

Stories of Love to Nourish Your Soul

After the Affair, the Reckoning:  While a mother takes care of her new baby, her husband takes up with another woman .

This Is Not the Relationship I Ordered:   Divorce leaves a woman with a surprising realization  about who has been the love of her life.

My Husband Is Two Years Older Than My Son:  A woman’s 19-year marital age gap feels treacherous — and is the best thing that’s ever happened to her .

Please Stay, Baby. Please?: The grief of miscarriage is largely invisible. And with each loss, the longing multiplies .

My Bad-Times-Only Boyfriend: Why is a woman’s long-ago fling suddenly acting as if he’s her husband ?

A Family Dinner With My Wife and Girlfriend: Learning to love two women at once  — one living with Alzheimer’s — is a challenge and a blessing.

Our Last, Impossible Conversation: Artificial intelligence gives a widow another chance to talk to her long-lost husband .

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Why I Write

This material remains under copyright in some jurisdictions, including the US, and is reproduced here with the kind permission of  the Orwell Estate . The Orwell Foundation is an independent charity – please consider making a donation or becoming a Friend of the Foundation to help us maintain these resources for readers everywhere. 

From a very early age, perhaps the age of five or six, I knew that when I grew up I should be a writer. Between the ages of about seventeen and twenty-four I tried to abandon this idea, but I did so with the consciousness that I was outraging my true nature and that sooner or later I should have to settle down and write books.

I was the middle child of three, but there was a gap of five years on either side, and I barely saw my father before I was eight. For this and other reasons I was somewhat lonely, and I soon developed disagreeable mannerisms which made me unpopular throughout my schooldays. I had the lonely child’s habit of making up stories and holding conversations with imaginary persons, and I think from the very start my literary ambitions were mixed up with the feeling of being isolated and undervalued. I knew that I had a facility with words and a power of facing unpleasant facts, and I felt that this created a sort of private world in which I could get my own back for my failure in everyday life. Nevertheless the volume of serious – i.e. seriously intended ­– writing which I produced all through my childhood and boyhood would not amount to half a dozen pages. I wrote my first poem at the age of four or five, my mother taking it down to dictation. I cannot remember anything about it except that it was about a tiger and the tiger had ‘chair-like teeth’ – a good enough phrase, but I fancy the poem was a plagiarism of Blake’s ‘Tiger, Tiger’. At eleven, when the war or 1914-18 broke out, I wrote a patriotic poem which was printed in the local newspaper, as was another, two years later, on the death of Kitchener. From time to time, when I was a bit older, I wrote bad and usually unfinished ‘nature poems’ in the Georgian style. I also, about twice, attempted a short story which was a ghastly failure. That was the total of the would-be serious work that I actually set down on paper during all those years.

However, throughout this time I did in a sense engage in literary activities. To begin with there was the made-to-order stuff which I produced quickly, easily and without much pleasure to myself. Apart from school work, I wrote vers d’occasion , semi-comic poems which I could turn out at what now seems to me astonishing speed – at fourteen I wrote a whole rhyming play, in imitation of Aristophanes, in about a week – and helped to edit school magazines, both printed and in manuscript. These magazines were the most pitiful burlesque stuff that you could imagine, and I took far less trouble with them than I now would with the cheapest journalism. But side by side with all this, for fifteen years or more, I was carrying out a literary exercise of a quite different kind: this was the making up of a continuous “story” about myself, a sort of diary existing only in the mind. I believe this is a common habit of children and adolescents. As a very small child I used to imagine that I was, say, Robin Hood, and picture myself as the hero of thrilling adventures, but quite soon my “story” ceased to be narcissistic in a crude way and became more and more a mere description of what I was doing and the things I saw. For minutes at a time this kind of thing would be running through my head: ‘He pushed the door open and entered the room. A yellow beam of sunlight, filtering through the muslin curtains, slanted on to the table, where a matchbox, half-open, lay beside the inkpot. With his right hand in his pocket he moved across to the window. Down in the street a tortoiseshell cat was chasing a dead leaf,’ etc., etc. This habit continued until I was about twenty-five, right through my non-literary years. Although I had to search, and did search, for the right words, I seemed to be making this descriptive effort almost against my will, under a kind of compulsion from outside. The ‘story’ must, I suppose, have reflected the styles of the various writers I admired at different ages, but so far as I remember it always had the same meticulous descriptive quality.

When I was about sixteen I suddenly discovered the joy of mere words, i.e. the sounds and associations of words. The lines from Paradise Lost –

So hee with difficulty and labour hard Moved on: with difficulty and labour hee,

which do not now seem to me so very wonderful, sent shivers down my backbone; and the spelling ‘hee’ for ‘he’ was an added pleasure. As for the need to describe things, I knew all about it already. So it is clear what kind of books I wanted to write, in so far as I could be said to want to write books at that time. I wanted to write enormous naturalistic novels with unhappy endings, full of detailed descriptions and arresting similes, and also full of purple passages in which words were used partly for the sake of their sound. And in fact my first completed novel, Burmese Days , which I wrote when I was thirty but projected much earlier, is rather that kind of book.

I give all this background information because I do not think one can assess a writer’s motives without knowing something of his early development. His subject-matter will be determined by the age he lives in ­– at least this is true in tumultuous, revolutionary ages like our own – but before he ever begins to write he will have acquired an emotional attitude from which he will never completely escape. It is his job, no doubt, to discipline his temperament and avoid getting stuck at some immature stage, or in some perverse mood: but if he escapes from his early influences altogether, he will have killed his impulse to write. Putting aside the need to earn a living, I think there are four great motives for writing, at any rate for writing prose. They exist in different degrees in every writer, and in any one writer the proportions will vary from time to time, according to the atmosphere in which he is living. They are:

(i) Sheer egoism. Desire to seem clever, to be talked about, to be remembered after death, to get your own back on grown-ups who snubbed you in childhood, etc., etc. It is humbug to pretend this is not a motive, and a strong one. Writers share this characteristic with scientists, artists, politicians, lawyers, soldiers, successful business men – in short, with the whole top crust of humanity. The great mass of human beings are not acutely selfish. After the age of about thirty they abandon individual ambition – in many cases, indeed, they almost abandon the sense of being individuals at all – and live chiefly for others, or are simply smothered under drudgery. But there is also the minority of gifted, willful people who are determined to live their own lives to the end, and writers belong in this class. Serious writers, I should say, are on the whole more vain and self-centered than journalists, though less interested in money.

(ii) Aesthetic enthusiasm. Perception of beauty in the external world, or, on the other hand, in words and their right arrangement. Pleasure in the impact of one sound on another, in the firmness of good prose or the rhythm of a good story. Desire to share an experience which one feels is valuable and ought not to be missed. The aesthetic motive is very feeble in a lot of writers, but even a pamphleteer or writer of textbooks will have pet words and phrases which appeal to him for non-utilitarian reasons; or he may feel strongly about typography, width of margins, etc. Above the level of a railway guide, no book is quite free from aesthetic considerations.

(iii) Historical impulse. Desire to see things as they are, to find out true facts and store them up for the use of posterity.

(iv) Political purpose – using the word ‘political’ in the widest possible sense. Desire to push the world in a certain direction, to alter other people’s idea of the kind of society that they should strive after. Once again, no book is genuinely free from political bias. The opinion that art should have nothing to do with politics is itself a political attitude.

It can be seen how these various impulses must war against one another, and how they must fluctuate from person to person and from time to time. By nature – taking your ‘nature’ to be the state you have attained when you are first adult – I am a person in whom the first three motives would outweigh the fourth. In a peaceful age I might have written ornate or merely descriptive books, and might have remained almost unaware of my political loyalties. As it is I have been forced into becoming a sort of pamphleteer. First I spent five years in an unsuitable profession (the Indian Imperial Police, in Burma), and then I underwent poverty and the sense of failure. This increased my natural hatred of authority and made me for the first time fully aware of the existence of the working classes, and the job in Burma had given me some understanding of the nature of imperialism: but these experiences were not enough to give me an accurate political orientation. Then came Hitler, the Spanish Civil War, etc. By the end of 1935 I had still failed to reach a firm decision. I remember a little poem that I wrote at that date, expressing my dilemma:

A happy vicar I might have been Two hundred years ago, To preach upon eternal doom And watch my walnuts grow But born, alas, in an evil time, I missed that pleasant haven, For the hair has grown on my upper lip And the clergy are all clean-shaven. And later still the times were good, We were so easy to please, We rocked our troubled thoughts to sleep On the bosoms of the trees. All ignorant we dared to own The joys we now dissemble; The greenfinch on the apple bough Could make my enemies tremble. But girls’ bellies and apricots, Roach in a shaded stream, Horses, ducks in flight at dawn, All these are a dream. It is forbidden to dream again; We maim our joys or hide them; Horses are made of chromium steel And little fat men shall ride them. I am the worm who never turned, The eunuch without a harem; Between the priest and the commissar I walk like Eugene Aram; And the commissar is telling my fortune While the radio plays, But the priest has promised an Austin Seven, For Duggie always pays. I dreamt I dwelt in marble halls, And woke to find it true; I wasn’t born for an age like this; Was Smith? Was Jones? Were you?

The Spanish war and other events in 1936-37 turned the scale and thereafter I knew where I stood. Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic socialism, as I understand it. It seems to me nonsense, in a period like our own, to think that one can avoid writing of such subjects. Everyone writes of them in one guise or another. It is simply a question of which side one takes and what approach one follows. And the more one is conscious of one’s political bias, the more chance one has of acting politically without sacrificing one’s aesthetic and intellectual integrity.

What I have most wanted to do throughout the past ten years is to make political writing into an art. My starting point is always a feeling of partisanship, a sense of injustice. When I sit down to write a book, I do not say to myself, ‘I am going to produce a work of art’. I write it because there is some lie that I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing. But I could not do the work of writing a book, or even a long magazine article, if it were not also an aesthetic experience. Anyone who cares to examine my work will see that even when it is downright propaganda it contains much that a full-time politician would consider irrelevant. I am not able, and do not want, completely to abandon the world view that I acquired in childhood. So long as I remain alive and well I shall continue to feel strongly about prose style, to love the surface of the earth, and to take a pleasure in solid objects and scraps of useless information. It is no use trying to suppress that side of myself. The job is to reconcile my ingrained likes and dislikes with the essentially public, non-individual activities that this age forces on all of us.

It is not easy. It raises problems of construction and of language, and it raises in a new way the problem of truthfulness. Let me give just one example of the cruder kind of difficulty that arises. My book about the Spanish civil war, Homage to Catalonia , is of course a frankly political book, but in the main it is written with a certain detachment and regard for form. I did try very hard in it to tell the whole truth without violating my literary instincts. But among other things it contains a long chapter, full of newspaper quotations and the like, defending the Trotskyists who were accused of plotting with Franco. Clearly such a chapter, which after a year or two would lose its interest for any ordinary reader, must ruin the book. A critic whom I respect read me a lecture about it. ‘Why did you put in all that stuff?’ he said. ‘You’ve turned what might have been a good book into journalism.’ What he said was true, but I could not have done otherwise. I happened to know, what very few people in England had been allowed to know, that innocent men were being falsely accused. If I had not been angry about that I should never have written the book.

In one form or another this problem comes up again. The problem of language is subtler and would take too long to discuss. I will only say that of late years I have tried to write less picturesquely and more exactly. In any case I find that by the time you have perfected any style of writing, you have always outgrown it. Animal Farm was the first book in which I tried, with full consciousness of what I was doing, to fuse political purpose and artistic purpose into one whole. I have not written a novel for seven years, but I hope to write another fairly soon. It is bound to be a failure, every book is a failure, but I do know with some clarity what kind of book I want to write.

Looking back through the last page or two, I see that I have made it appear as though my motives in writing were wholly public-spirited. I don’t want to leave that as the final impression. All writers are vain, selfish, and lazy, and at the very bottom of their motives there lies a mystery. Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist or understand. For all one knows that demon is simply the same instinct that makes a baby squall for attention. And yet it is also true that one can write nothing readable unless one constantly struggles to efface one’s own personality. Good prose is like a windowpane. I cannot say with certainty which of my motives are the strongest, but I know which of them deserve to be followed. And looking back through my work, I see that it is invariably where I lacked a political purpose that I wrote lifeless books and was betrayed into purple passages, sentences without meaning, decorative adjectives and humbug generally.

Gangrel , No. 4, Summer 1946

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Why do we write?

Students talk about their writing lives.

As our editors work on our 2016 Crossroads IV Anthology, we want to share what we are hearing from students who submit!

• I write to take my mind off of other things.
• I really enjoy writing because unlike other subjects, where there is only one true answer, writing has no single answer! There are infinite interpretations to any subject matter, and you get to make what you write perfectly tailored to how you wish it to read.
• I write to make sense of the thoughts in my head, to bring out parts of myself into something tangible.
• I have grown attached to writing because it allows me to express my thoughts, and I am a very artistic guy, so making art, or stories, or anything that allows me to put out what I think in my mind.
• I am a junior in high school and an aspiring writer. I work for my school newspaper and take a Creative Writing class at my high school in Charlottesville, Virginia. I mostly enjoy writing poetry and fiction.
• Writing allows me space and time to express myself more authentically than I might in conversation. Not only is the process of writing challenging and exciting, when I am finished I have the reward of a story that I have brought to life. I feel that writing is a soothing exercise which helps me to make sense of the world by exploring my own written ones.
• I like to write because it helps me get stuff off my chest.
• Writing provides the best sort of release
• Writing makes me feel better about all the sad things in my life. It’s a different form of expression other than sports for me.

• I’ve always loved writing because I think it’s the best medium of expression for me and it allows me to be completely honest.
• I like to write because it is an amazing way to express yourself and your opinions.
• I love to write because it allows my mind to go to anyplace it wants to with no restrictions.
• Writing, I’ve found,is a way to express myself in ways I may not otherwise be comfortable doing.
• I enjoy writing because I love being able to express myself and my own ideas.
• I enjoy writing because it has so much freedom.
• I like to write to express my feelings. Sometimes it is hard to get into words what you feel inside, but when it is just me and the paper I am able to translate everything into something meaningful.
• I’m more of a guitarist than a writer, but it’s difficult to convey nihilism thru instrumentation.
• I have always loved reading and writing, particularly stories about far off lands. My favorite part about writing is creating my own world within the real world, or completely apart from the real world.
• I like to write because you can create anything; you can show yourself, or hide depending on what you want.
• I find inspiration in dreams, stories, shapes in the cumuli, and peculiar happenings from everyday life.

• I like to write because it is a way to express my ideas.
• I love to write, just for myself, as a way to release stress and express my feelings.
• I like to write because I can put all of my feelings into words and share my thoughts with others.
• I’ve always enjoyed writing because, quite simply, I find fiction so much more interesting than the real world.
• I like to write because it lets me express my ideas in a different way.
• I have loved writing since elementary school when I wrote stories about horses with arms coming out of their necks who could breathe fire (Disclaimer: this was a friend’s interpretation, not mine) even though I never really thought it was a big deal back then.
• I wrote this poem as an assignment given to me by a student teacher from UVa Curry School in my AP English 11 class. The prompt was to write a vernacular piece. The phrase I chose was not exactly vernacular, but an old Southern phrase of advice. Having been born and raised in the South, phrases like these are central to both my vernacular and my identity.
• Writing lets me express myself in ways that I can’t say out loud. This might sound cheesy but it helps me escape reality.
• I enjoy writing because it allows me to express observations about nature, feelings, knowledge and reflect on life experiences that I have encountered in my life.
• Writing is a way for me to contemplate the lives of others and find solace and vitality in my own.

• I began writing poetry a little over a year ago, and eventually started publishing it onto a few online sites. I love writing because it helps me cope with stress and others like to read my poetry.
• I love to write and am often found jotting down notes in my little black notebook.
• I love to write because it brings out one’s true words.
• I like to write because it provides an opportunity for me to describe the world in ways we don’t usually see it.
• I enjoy writing because I loved stories, making my own seemed to be a great way to tell my own as well as understand others. I also found writing to be a great way to express myself.
• I like writing poetry because it allows me to express deep thoughts that I don’t verbally share with anyone.
• I love to write because it helps me to cope with the whirlwind of high school.
• I like to write because it helps me understand more about other people, and lets me add depth to memories that I have committed to paper.
• I love to write because it clears out my mind.

• I love to creatively write, it helps me connect to my artistic side.
• Writing provides an escape when reality becomes too complex.
• I like to write because writing gives me the opportunity to express myself in ways that I couldn’t otherwise.
• I like to write because it allows me to focus on something and helps me relieve stress.
• I was born to dance, but I chose to write. That’s why I’m putting myself out there: I won’t lose to something I chose, especially when I knew full well when I chose it that I wasn’t born with it.I chose writing, and now I’m waiting for it to choose me.
• I enjoy writing because literature is a good mode of expression for my feelings and beliefs.
• I like to write to write to relieve stress.
• I enjoy writing because you can write anything based on how you feel at the moment. Sad, happy, analytical: anything can become good writing.
• I like to write because it is a way for me to express my thoughts.
• Writing expresses feelings in a way that is only possible through the process of putting words on paper–and that is an irreplaceable experience.

• I think that poetry gives a unique way to express your thoughts and your ideas in a creative way.
• This was originally a poem for my AP Lit class, but with the recent attacks, shootings and overall injustice witnessed nowadays, I thought it was appropriate to submit for a larger audience.
• I just love words and writing, and I want to share this love with others.
• Instead of muscles, my written words allow my lungs to expand and contract.

Before You Write a Love Essay, Read This to Get Examples

The day will come when you can’t escape the fate of all students: You will have to write a what is love essay.

No worries:

Here you’ll find tons of love essay topics and examples. No time to read everything? Scroll down to get a free PDF with original samples.

Definition: Essay on Love

First, let’s define what is love essay?

The most common topics are:

• Definition of love
• What is love?
• Meaning of love

Why limit yourself to these hackneyed, general themes? Below, I’ll show how to make your paper on love original yet relevant to the prompt you get from teachers.

Love Essay Topics: 20 Ideas to Choose for Your Paper

Your essay on love and relationship doesn’t have to be super official and unemotional. It’s ok to share reflections and personal opinions when writing about romance.

Often, students get a general task to write an essay on love. It means they can choose a theme and a title for their paper. If that’s your case,  feel free to try any of these love essay topics:

• Exploring the impact of love on individuals and relationships.
• Love in the digital age: Navigating romance in a tech world.
• Is there any essence and significance in unconditional love?
• Love as a universal language: Connecting hearts across cultures.
• Biochemistry of love: Exploring the process.
• Love vs. passion vs. obsession.
• How love helps cope with heartbreak and grief.
• The art of loving. How we breed intimacy and trust.
• The science behind attraction and attachment.
• How love and relationships shape our identity and help with self-discovery.
• Love and vulnerability: How to embrace emotional openness.
• Romance is more complex than most think: Passion, intimacy, and commitment explained.
• Love as empathy: Building sympathetic connections in a cruel world.
• Evolution of love. How people described it throughout history.
• The role of love in mental and emotional well-being.
• Love as a tool to look and find purpose in life.
• Welcoming diversity in relations through love and acceptance.
• Love vs. friendship: The intersection of platonic and romantic bonds.
• The choices we make and challenges we overcome for those we love.
• Love and forgiveness: How its power heals wounds and strengthens bonds.

Love Essay Examples: Choose Your Sample for Inspiration

Essays about love are usually standard, 5-paragraph papers students write in college:

• One paragraph is for an introduction, with a hook and a thesis statement
• Three are for a body, with arguments or descriptions
• One last passage is for a conclusion, with a thesis restatement and final thoughts

Below are the ready-made samples to consider. They’ll help you see what an essay about love with an introduction, body, and conclusion looks like.

What is love essay: 250 words

Lao Tzu once said, “Being deeply loved by someone gives you strength while loving someone deeply gives you courage.” Indeed, love can transform individuals, relationships, and our world.

A word of immense depth and countless interpretations, love has always fascinated philosophers, poets, and ordinary individuals. This  emotion breaks boundaries and has a super power to change lives. But what is love, actually?

It’s a force we feel in countless ways. It is the warm embrace of a parent, filled with care and unwavering support. It is the gentle touch of a lover, sparking a flame that ignites passion and desire. Love is the kind words of a friend, offering solace and understanding in times of need. It is the selfless acts of compassion and empathy that bind humanity together.

Love is not confined to romantic relationships alone. It is found in the family bonds, the connections we forge with friends, and even the compassion we extend to strangers. Love is a thread that weaves through the fabric of our lives, enriching and nourishing our souls.

However, love is not without its complexities. It can be both euphoric and agonizing, uplifting and devastating. Love requires vulnerability, trust, and the willingness to embrace joy and pain. It is a delicate balance between passion and compassion, independence and interdependence.

Finally, the essence of love may be elusive to define with mere words. It is an experience that surpasses language and logic, encompassing a spectrum of emotions and actions. Love is a profound connection that unites us all, reminding us of our shared humanity and the capacity for boundless compassion.

What is love essay: 500 words

A 500-word essay on why I love you

Trying to encapsulate why I love you in a mere 500 words is impossible. My love for you goes beyond the confines of language, transcending words and dwelling in the realm of emotions, connections, and shared experiences. Nevertheless, I shall endeavor to express the depth and breadth of my affection for you.

First and foremost, I love you for who you are. You possess a unique blend of qualities and characteristics that captivate my heart and mind. Your kindness and compassion touch the lives of those around you, and I am grateful to be the recipient of your unwavering care and understanding. Your intelligence and wit constantly challenge me to grow and learn, stimulating my mind and enriching our conversations. You have a beautiful spirit that radiates warmth and joy, and I am drawn to your vibrant energy.

I love the way you make me feel. When I am with you, I feel a sense of comfort and security that allows me to be my true self. Your presence envelops me in a cocoon of love and acceptance, where I can express my thoughts, fears, and dreams without fear of judgment. Your support and encouragement inspire me to pursue my passions and overcome obstacles. With you by my side, I feel empowered to face the world, knowing I have a partner who believes in me.

I love the memories we have created together. From the laughter-filled moments of shared adventures to the quiet and intimate conversations, every memory is etched in my heart. Whether exploring new places, indulging in our favorite activities, or simply enjoying each other’s company in comfortable silence, each experience reinforces our bond. Our shared memories serve as a foundation for our relationship, a testament to the depth of our connection and the love that binds us.

I love your quirks and imperfections. Your true essence shines through these unique aspects! Your little traits make me smile and remind me of the beautiful individual you are. I love how you wrinkle your nose when you laugh, become lost in thought when reading a book, and even sing off-key in the shower. These imperfections make you human, relatable, and utterly lovable.

I love the future we envision together. We support each other’s goals, cheering one another on as we navigate the path toward our dreams. The thought of building a life together, creating a home filled with love and shared experiences, fills my heart with anticipation and excitement. The future we imagine is one that I am eager to explore with you by my side.

In conclusion, the reasons why I love you are as vast and varied as the universe itself. It is a love that defies logic and surpasses the limitations of language. From the depths of my being, I love you for the person you are, the way you make me feel, the memories we cherish, your quirks and imperfections, and the future we envision together. My love for you is boundless, unconditional, and everlasting.

A 5-paragraph essay about love

I’ve gathered all the samples (and a few bonus ones) in one PDF. It’s free to download. So, you can keep it at hand when the time comes to write a love essay.

Ready to Write Your Essay About Love?

Now that you know the definition of a love essay and have many topic ideas, it’s time to write your A-worthy paper! Here go the steps:

• Check all the examples of what is love essay from this post.
• Choose the topic and angle that fits your prompt best.
• Write your original and inspiring story.

Any questions left? Our writers are all ears. Please don’t hesitate to ask!

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How to Describe Love in Writing (21 Best Tips + Examples)

Love is a universal language, yet when it comes to putting it into words, many of us find ourselves tongue-tied.

Here is how to describe in writing :

Describe love in writing by capturing emotional depth, using vivid and sensory details, incorporating unique metaphors and comparisons, exploring the complexities and nuances of love, and expressing love through actions and dialogue. Connect love to the plot and theme of the story.

In this guide, you’ll learn 21 top-notch tips and examples that will help you write about love like a pro.

1. The Tip of the Iceberg Technique

Table of Contents

When expressing love in writing, you don’t have to spill all the beans at once.

In fact, it’s often more powerful to leave something to the reader’s imagination. This technique involves alluding to the depth of your character’s emotions without spelling everything out.

It creates an air of mystery and makes your readers want to delve deeper into your character’s feelings.

For instance, your character might not declare his love directly.

But his actions, the way he looks at the person he loves, or the things he sacrifices for her, all speak volumes about his feelings.

The best part is, your readers will feel like they’re discovering these emotions alongside your character.

Often, this makes the experience even more impactful.

Example: He didn’t say anything. But he held her hand, his thumb tracing her knuckles in a silent confession.

2. The Show-Don’t-Tell Rule

We’ve all heard it a thousand times – show, don’t tell.

When it comes to writing about love, this rule is especially crucial. Telling your readers that your characters are in love is like giving them a summary of a movie – it’s informative, but it doesn’t evoke any emotions.

Showing, on the other hand, involves your readers and makes them feel like they’re part of the story.

When you ‘show’ love, you’re painting a picture with your words.

You’re creating a scene that readers can visualize, pulling them into your character’s world.

This can involve showing your characters’ actions, their body language, the way they speak, and their reactions.

Example: Instead of saying, “John was in love with Sarah,” you could write, “John’s heart fluttered every time Sarah walked into the room. Her laugh was his favorite sound, and he found himself doing silly things just to hear it.”

3. The Heart-in-Mouth Technique

This tip is all about creating suspense in your love story.

When you keep your readers on the edge of their seats, they’re more likely to be engaged and invested in your characters’ love story.

The Heart-in-Mouth Technique involves building tension between your characters, creating conflicts and hurdles they have to overcome, and then finally giving them (and your readers) the relief of resolution.

This technique doesn’t just apply to romantic novels or stories.

It can be used in any genre where love plays a significant role.

Remember, the key is to build anticipation and suspense, so when the love is finally expressed or reciprocated, it feels like a big payoff for your readers.

Example: The room was filled with people, but all he could see was her. Their eyes met across the room, a silent conversation passing between them. But as he began to make his way towards her, a man stepped in, sweeping her onto the dance floor. His heart sank, but he couldn’t look away.

4. The Whisper-in-the-Ear Method

Instead of loud, grand gestures of love, this method focuses on the quiet, almost unnoticed expressions of love that often speak louder than words.

These could be little things your characters do for each other, their shared glances, or even their unspoken understanding.

The Whisper-in-the-Ear Method can make your love story feel more realistic and relatable.

In real life, love isn’t always about the big, dramatic moments.

It’s about the little things, the day-to-day acts of kindness and understanding that show someone you care about them.

Example: She woke up to the smell of fresh coffee. He was already up, like always. She found him in the kitchen, humming to himself as he made breakfast. “Morning,” he said, his eyes crinkling at the corners. She didn’t need a “I love you” to know that he did.

5. The Behind-Closed-Doors Technique

Another effective technique for writing about love is to hint at what happens behind closed doors.

This doesn’t mean you have to get explicit or graphic (unless you want to, of course).

It simply means suggesting intimacy between your characters without revealing everything.

This allows your readers to fill in the blanks with their own imagination, which can make your love story even more engaging.

The Behind-Closed-Doors Technique adds a sense of realism to your love story, because in real life, not every moment of a relationship is visible to others.

It also adds depth to your characters and their relationship.

You want to show that their love goes beyond what’s visible on the surface.

Example: They disappeared into the room, his hand never leaving hers. The door closed behind them, leaving the rest of the world outside. When they emerged hours later, their eyes held a secret glow only they understood.

6. The Push-and-Pull Dynamic

Love isn’t always smooth sailing – it’s full of ups and downs, conflicts and resolutions.

The Push-and-Pull Method involves creating tension and release in your love story, which keeps your readers engaged and invested in your characters’ relationship.

It’s like a dance, where your characters move towards each other, then away, then back again, creating a dynamic, compelling love story.

Conflict is crucial to any story, and love stories are no exception.

Your characters might argue, have misunderstandings, face external challenges, or deal with their own internal struggles.

The key is to resolve these conflicts in a satisfying way that strengthens their relationship.

Example: They argued, yes. There were days when they couldn’t stand each other. But every disagreement was followed by a reconciliation that brought them closer than before. It was like watching two magnets, pushing and pulling until they finally clicked into place.

7. The Subtext-is-Everything Technique

This technique is all about what’s unsaid, rather than what’s said.

It’s the hidden meanings, the secret messages, and the unspoken emotions that make your love story more engaging and realistic.

The Subtext-is-Everything Technique involves showing your characters’ feelings through their actions, their body language, and their dialogues.

Subtext adds depth and complexity to your characters and their relationship.

By using subtext, you allow your readers to dig deeper into your characters’ emotions and understand them on a deeper level.

Example: She looked away, but not before he caught the flicker of longing in her eyes. “You should go,” she said, her voice barely above a whisper. But her hand lingered on his arm, a silent plea for him to stay.

8. The Less-is-More Method

Often when writing about love, the temptation is to over-explain and over-describe.

However, the beauty of the Less-is-More Method is that it relies on simplicity and understatement.

This can make your expressions of love more powerful because it doesn’t feel forced or overdone.

This approach requires precise language, carefully chosen details, and meaningful gestures.

This method is a bit like cooking a gourmet meal – you don’t need a ton of ingredients, just a few high-quality ones used well.

It’s about focusing on the essential aspects of your characters’ love and presenting them in a clear, effective way.

Example: He looked at her, really looked at her, for the first time. And in that moment, he knew.

9. The Echo Effect

Repetition, when used correctly, can add depth and resonance to your love story.

The Echo Effect involves repeating certain phrases, gestures, or scenes to emphasize your characters’ feelings.

This technique can help your readers remember and connect with your characters’ love story on a deeper level.

Just like in music, where a recurring melody or lyric can evoke strong emotions, in writing, the Echo Effect can create a powerful emotional impact.

It creates a pattern that your readers recognize and anticipate, adding a layer of depth to your love story.

Example: He noticed it the first time they met – the way she tucked her hair behind her ear when she was nervous. He saw it again on their first date, and then again when he told her he loved her. It was a silent echo of their journey, a testament to their shared moments.

10. The Shared-Secret Technique

The Shared-Secret Technique is all about creating a bond between your characters that only they understand.

This could be an inside joke, a shared experience, or a secret they keep together.

This technique can make your characters’ relationship feel unique and special, adding depth and intimacy to your love story.

This technique works well because it not only strengthens the bond between your characters but also creates a connection between your characters and your readers.

Your readers feel like they’re part of the secret, which can make them more invested in your characters’ love story.

Example: Every year on their anniversary, they would go back to the same little coffee shop where they first met. It wasn’t fancy, but it was their place, their little secret corner of the world.

11. The Emotional-Rollercoaster Method

The Emotional-Rollercoaster Method is all about creating a wide range of emotions in your love story.

It’s not just about the happy moments, but also the sad, tense, and even frustrating ones.

This technique can make your love story more realistic and engaging, as it mirrors the ups and downs of real-life relationships.

By creating a mix of emotions, you can keep your readers on their toes and make them feel more involved in your characters’ love story.

Even negative emotions can create a strong impact and make the happy moments even more satisfying.

Example: Their love was a tumultuous symphony – full of passionate crescendos, heartbreaking solos, and soft, tender interludes. It wasn’t perfect, but it was real, and it was theirs.

12. The Love-Is-in-the-Details Approach

The Love-Is-in-the-Details Approach involves focusing on the small, seemingly insignificant details of your characters’ relationship.

This could be the way they look at each other, their little habits and quirks, or the small acts of kindness they do for each other.

This technique can make your love story feel more intimate and personal, showing your characters’ love in a subtle, nuanced way.

Remember, sometimes the smallest details can have the biggest impact.

By focusing on these details, you can show your characters’ love in a more nuanced and authentic way.

Example: He knew just how she liked her coffee – two sugars, a dash of milk, and exactly seven minutes to cool down. It was a small thing, but it was one of the many ways he showed her he cared.

13. The Soul-Gazing Technique

The Soul-Gazing Technique is all about creating a deep, emotional connection between your characters.

This involves showing your characters understanding each other on a deeper level, beyond surface-level attraction or compatibility.

This technique can make your love story more impactful, showing a love that goes beyond the physical.

Creating this kind of emotional depth can involve showing your characters’ vulnerability, their shared experiences, or their mutual understanding and empathy.

It’s about showing that they ‘get’ each other on a level that no one else does.

Example: They sat in silence, but it wasn’t awkward. It was comfortable, intimate. They didn’t need words to understand each other – a look, a touch, a shared smile was enough.

14. The Dance-of-Words Method

This method is all about using your words to create a sort of dance between your characters.

Like a well-choreographed dance, a well-written love scene involves rhythm, pacing, and a balance between tension and release.

It’s about creating a back-and-forth dialogue or interaction that mirrors a dance.

The Dance-of-Words Method can make your love story feel dynamic and engaging.

The key is to find the right rhythm for your characters and your story, to create a love scene that feels natural and fluid.

Example: They spoke in hushed whispers, their words intertwining like dancers in a ballet. A compliment here, a tease there, a shared laugh, a shared silence. It was their own private dance, a testament to their love.

15. The Love-Is-A-Journey Approach

Love, like a journey, is full of twists and turns, ups and downs, and unexpected detours.

The Love-Is-A-Journey Approach involves treating your characters’ love story as a journey, with its own challenges, milestones, and transformations.

This approach can make your love story more engaging and relatable.

It mirrors the complexities and uncertainties of real-life love.

By treating love as a journey, you can show your characters growing and evolving together, strengthening their bond and deepening their love.

Example: Their love was not a destination, but a journey. A winding path with unexpected twists and turns, breathtaking views and steep climbs. But they walked it together, hand in hand, cherishing every step of the way.

16. The Love-Letters Technique

Sometimes, the most powerful expressions of love come in written form.

The Love-Letters Technique involves using letters, notes, or other written communication as a way to express your characters’ love.

This can add a touch of nostalgia and romance to your love story, as well as allow your characters to express their feelings in a more intimate, personal way.

This technique is versatile and can be adapted to fit your story.

Your characters could exchange love letters, leave each other sweet notes, or even write in a shared diary or journal.

Example: He found the note on the kitchen table, her neat handwriting bringing a smile to his face. “See you tonight, love. P.S. Don’t forget to water the plants!” It was a small thing, but it reminded him of the love they shared.

17. The Language-of-Love Method

This method is all about using language and dialogue to express your characters’ love.

This doesn’t necessarily mean using flowery or overly romantic language.

Instead, it’s about using language that feels authentic and natural to your characters, whether that’s sweet and tender, playful and teasing, or deep and philosophical.

The Language-of-Love Method can make your love story feel more authentic and relatable.

It shows your characters’ unique way of expressing their love.

Example: She didn’t say “I love you” in so many words. But when she said “Take care,” “Drive safe,” or “Did you eat?” he heard the unspoken words of love in every sentence.

18. The Love-Is-A-Battlefield Approach

Love can sometimes feel like a battlefield, full of conflicts, challenges, and triumphs.

The Love-Is-A-Battlefield Approach involves treating your characters’ love story as a battle, with its own victories, losses, and strategies.

This approach can add drama and tension to your love story, making it more engaging and exciting.

By treating love as a battlefield, you can show your characters fighting for their love, overcoming obstacles, and emerging victorious against all odds.

Example: Their love was not easy. It was a battle, a constant fight against distance, time, and their own fears. But they fought bravely, tirelessly, because they knew their love was worth every struggle.

19. The Magic-in-Mundane Technique

This technique is all about finding the magic in the mundane – showing your characters’ love in everyday, ordinary moments.

This could be a shared meal, a morning routine, or a quiet evening at home.

The Magic-in-Mundane Technique can make your love story feel more relatable and realistic, showing that love isn’t just about the big, dramatic moments.

But also the small, everyday ones.

Example: It was an ordinary Tuesday evening. They sat on the couch, her feet in his lap, a movie playing in the background. He looked at her, her eyes sparkling with laughter, and he thought, this, this is love.

20. The Through-The-Eyes-Of-Love Technique

This technique involves showing your characters and their world through the eyes of love.

This means showing how your character sees the person they love.

Also, how they notice things that others don’t and how they cherish their shared moments and memories.

The Through-The-Eyes-Of-Love Technique can create a more intimate and personal perspective of your love story.

Example: To the world, she was just a girl. But to him, she was the world. He saw the beauty in her flaws, the strength in her vulnerability, the grace in her every move. Through his eyes, she was not just a girl, but a masterpiece of love.

21. The Love-in-Action Method

The Love-in-Action Method involves showing your characters’ love through their actions.

This means showing how your characters express their love, not just through words, but through their actions, decisions, and sacrifices.

The method can make your love story more powerful and impactful.

It shows that love is not just a feeling, but a choice, a commitment, a daily act of kindness and care.

Example: He didn’t say “I love you” often. But when he picked her up from work when it was raining, when he cooked her favorite meal after a long day, when he held her close during the thunderstorms, his actions spoke louder than any words.

How to Describe Love at First Sight

Describing love at first sight can be tricky, as it involves capturing a moment of instant attraction and connection.

To effectively portray this, focus on the details that made your characters fall for each other.

Describe the physical attributes, mannerisms, or other characteristics that caught their attention.

Try to depict the rush of emotions that accompany such a moment, from surprise and intrigue to excitement and longing.

Example: From across the crowded room, their eyes met. He was drawn in by her radiant smile, the way her eyes sparkled with joy, the effortless grace with which she moved. It was like a lightning strike, a sudden realization that shook him to his core. He didn’t know her, not yet, but he knew he wanted to.

How to Describe Unrequited Love

Unrequited love is a theme full of raw and intense emotions – longing, heartbreak, and sometimes even hope.

When describing unrequited love, delve into your character’s feelings and desires, exploring the depth of their affection for the person they can’t have.

Showcase the bittersweet nature of their love, the struggle between holding on and letting go.

Example: He loved her, but not in the way she loved him. Her love was like a blazing fire, burning brightly and fiercely. His love was more like a gentle breeze, comforting yet elusive. She yearned for him, dreamt of him, even as she knew that her feelings were unreciprocated.

Words to Describe Love

When learning how to describe love in writing, it’s helpful to have a list of words for reference.

Here are some of the best words to describe love:

• Unconditional
• Overwhelming
• Affectionate
• Irresistible
• Invigorating

Phrases to Describe Love

Consider the following phrases for describing love in writing:

• Head over heels
• Love is in the air
• Crazy in love
• Love against all odds
• Love at first sight
• The look of love
• Falling deeply in love
• A burning passion
• The language of love
• Lost in each other’s eyes
• Love knows no bounds
• The power of love
• A heart full of love
• A love that defies description
• A timeless love
• An unspoken bond
• Love that takes your breath away
• A love written in the stars
• A love that stands the test of time
• The depth of their love

Here is a great (and fun) video about how not to describe love in writing – which is just as important to know:

Final Thoughts: How to Describe Love in Writing

Ultimately, describing love in writing is about balancing all the narrative elements of a story.

It’s not easy but it is an incredible way to bring your characters and your story to life. I hope this guide helps you create an epic love that readers ship and swoon over for years.

Related Posts:

• How to Write a Dance Scene: 21 Best Tips + Examples
• How to Describe a Smile in Writing (700 Ways & Examples)
• How To Describe a Panic Attack in Writing (Ultimate Guide)
• How to Describe a Dog in Writing (100+ Examples)

Essays About Love: 20 Intriguing Ideas for Students

Love can make a fascinating essay topic, but sometimes finding the perfect topic idea is challenging. Here are 20 of the best essays about love.

Writers have often explored the subject of love and what it means throughout history. In his book Essays in Love , Alain de Botton creates an in-depth essay on what love looks like, exploring a fictional couple’s relationship while highlighting many facts about love. This book shows how much there is to say about love as it beautifully merges non-fiction with fiction work.

The New York Times  published an entire column dedicated to essays on modern love, and many prize-winning reporters often contribute to the collection. With so many published works available, the subject of love has much to be explored.

If you are going to write an essay about love and its effects, you will need a winning topic idea. Here are the top 20 topic ideas for essays about love. These topics will give you plenty to think about and explore as you take a stab at the subject that has stumped philosophers, writers, and poets since the dawn of time.

For help with your essays, check out our round-up of the best essay checkers .

1. Outline the Definition of Love

2. describe your favorite love story, 3. what true love looks like, 4. discuss how human beings are hard-wired for love, 5. explore the different types of love, 6. determine the true meaning of love, 7. discuss the power of love, 8. do soul mates exist, 9. determine if all relationships should experience a break-up, 10. does love at first sight exist, 11. explore love between parents and children, 12. discuss the disadvantages of love, 13. ask if love is blind, 14. discuss the chemical changes that love causes, 15. outline the ethics of love, 16. the inevitability of heartbreak, 17. the role of love in a particular genre of literature, 18. is love freeing or oppressing, 19. does love make people do foolish things, 20. explore the theme of love from your favorite book or movie.

Defining love may not be as easy as you think. While it seems simple, love is an abstract concept with multiple potential meanings. Exploring these meanings and then creating your own definition of love can make an engaging essay topic.

To do this, first, consider the various conventional definitions of love. Then, compare and contrast them until you come up with your own definition of love.

One essay about love you could tackle is describing and analyzing a favorite love story. This story could be from a fiction tale or real life. It could even be your love story.

As you analyze and explain the love story, talk about the highs and lows of love. Showcase the hard and great parts of this love story, then end the essay by talking about what real love looks like (outside the flowers and chocolates).

This essay will explore what true love looks like. With this essay idea, you could contrast true love with the romantic love often shown in movies. This contrast would help the reader see how true love looks in real life.

An essay about what true love looks like could allow you to explore this kind of love in many different facets. It would allow you to discuss whether or not someone is, in fact, in true love. You could demonstrate why saying “I love you” is not enough through the essay.

There seems to be something ingrained in human nature to seek love. This fact could make an interesting essay on love and its meaning, allowing you to explore why this might be and how it plays out in human relationships.

Because humans seem to gravitate toward committed relationships, you could argue that we are hard-wired for love. But, again, this is an essay option that has room for growth as you develop your thoughts.

There are many different types of love. For example, while you can have romantic love between a couple, you may also have family love among family members and love between friends. Each of these types of love has a different expression, which could lend itself well to an interesting essay topic.

Writing an essay that compares and contrasts the different types of love would allow you to delve more deeply into the concept of love and what makes up a loving relationship.

What does love mean? This question is not as easy to answer as you might think. However, this essay topic could give you quite a bit of room to develop your ideas about love.

While exploring this essay topic, you may discover that love means different things to different people. For some, love is about how someone makes another person feel. To others, it is about actions performed. By exploring this in an essay, you can attempt to define love for your readers.

What can love make people do? This question could lend itself well to an essay topic. The power of love is quite intense, and it can make people do things they never thought they could or would do.

With this love essay, you could look at historical examples of love, fiction stories about love relationships, or your own life story and what love had the power to do. Then, at the end of your essay, you can determine how powerful love is.

The idea of a soul mate is someone who you are destined to be with and love above all others. This essay topic would allow you to explore whether or not each individual has a soul mate.

If you determine that they do, you could further discuss how you would identify that soul mate. How can you tell when you have found “the one” right for you? Expanding on this idea could create a very interesting and unique essay.

Break-ups seem inevitable, and strong relationships often come back together afterward. Yet are break-ups truly inevitable? Or are they necessary to create a strong bond? This idea could turn into a fascinating essay topic if you look at both sides of the argument.

On the one hand, you could argue that the break-up experience shows you whether or not your relationship can weather difficult times. On the other hand, you could argue that breaking up damages the trust you’re working to build. Regardless of your conclusion, you can build a solid essay off of this topic idea.

Love, at first sight is a common theme in romance stories, but is it possible? Explore this idea in your essay. You will likely find that love, at first sight, is nothing more than infatuation, not genuine love.

Yet you may discover that sometimes, love, at first sight, does happen. So, determine in your essay how you can differentiate between love and infatuation if it happens to you. Then, conclude with your take on love at first sight and if you think it is possible.

The love between a parent and child is much different than the love between a pair of lovers. This type of love is one-sided, with care and self-sacrifice on the parent’s side. However, the child’s love is often unconditional.

Exploring this dynamic, especially when contrasting parental love with romantic love, provides a compelling essay topic. You would have the opportunity to define this type of love and explore what it looks like in day-to-day life.

Most people want to fall in love and enjoy a loving relationship, but does love have a downside? In an essay, you can explore the disadvantages of love and show how even one of life’s greatest gifts is not without its challenges.

This essay would require you to dig deep and find the potential downsides of love. However, if you give it a little thought, you should be able to discuss several. Finally, end the essay by telling the reader whether or not love is worth it despite the many challenges.

Love is blind is a popular phrase that indicates love allows someone not to see another person’s faults. But is love blind, or is it simply a metaphor that indicates the ability to overlook issues when love is at the helm.

If you think more deeply about this quote, you will probably determine that love is not blind. Rather, love for someone can overshadow their character flaws and shortcomings. When love is strong, these things fall by the wayside. Discuss this in your essay, and draw your own conclusion to decide if love is blind.

When someone falls in love, their body feels specific hormonal and chemical changes. These changes make it easier to want to spend time with the person. Yet they can be fascinating to study, and you could ask whether or not love is just chemical reactions or something more.

Grab a science book or two and see if you can explore these physiological changes from love. From the additional sweating to the flushing of the face, you will find quite a few chemical changes that happen when someone is in love.

Love feels like a positive emotion that does not have many ethical concerns, but this is not true. Several ethical questions come from the world of love. Exploring these would make for an interesting and thoughtful essay.

For example, you could discuss if it is ethically acceptable to love an object or even oneself or love other people. You could discuss if it is appropriate to enter into a physical relationship if there is no love present or if love needs to come first. There are many questions to explore with this love essay.

If you choose to love someone, is heartbreak inevitable? This question could create a lengthy essay. However, some would argue that it is because either your object of affection will eventually leave you through a break-up or death.

Yet do these actions have to cause heartbreak, or are they simply part of the process? Again, this question lends itself well to an essay because it has many aspects and opinions to explore.

Literature is full of stories of love. You could choose a genre, like mythology or science fiction, and explore the role of love in that particular genre. With this essay topic, you may find many instances where love is a vital central theme of the work.

Keep in mind that in some genres, like myths, love becomes a driving force in the plot, while in others, like historical fiction, it may simply be a background part of the story. Therefore, the type of literature you choose for this essay would significantly impact the way your essay develops.

Most people want to fall in love, but is love freeing or oppressing? The answer may depend on who your loved ones are. Love should free individuals to authentically be who they are, not tie them into something they are not.

Yet there is a side of love that can be viewed as oppressive, deepening on your viewpoint. For example, you should stay committed to just that individual when you are in a committed relationship with someone else. Is this freeing or oppressive? Gather opinions through research and compare the answers for a compelling essay.

You can easily find stories of people that did foolish things for love. These stories could translate into interesting and engaging essays. You could conclude the answer to whether or not love makes people do foolish things.

Your answer will depend on your research, but chances are you will find that, yes, love makes people foolish at times. Then you could use your essay to discuss whether or not it is still reasonable to think that falling in love is a good thing, although it makes people act foolishly at times.

Most fiction works have love in them in some way. This may not be romantic love, but you will likely find characters who love something or someone.

Use that fact to create an essay. Pick your favorite story, either through film or written works, and explore what love looks like in that work. Discuss the character development, storyline, and themes and show how love is used to create compelling storylines.

If you are interested in learning more, check out our essay writing tips !

Bryan Collins is the owner of Become a Writer Today. He's an author from Ireland who helps writers build authority and earn a living from their creative work. He's also a former Forbes columnist and his work has appeared in publications like Lifehacker and Fast Company.

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12 Effective “Why This College?” Essay Examples

What’s covered.

• Essay 1: UPenn Nursing
• Essay 2: UPenn
• Essay 3: UW Madison
• Essay 4: Northwestern
• Essay 5: NYU
• Essay 6: NYU
• Essay 7: Boston University
• Essay 8: Boston University
• Essay 9: Tufts
• Essay 10: Tufts
• Essay 11: Georgia Tech
• Essay 12: Georgia Tech

Where to Get Your Essays Edited

The “ Why This College?” essay is one of the most common supplemental prompts. These school-specific essays help colleges understand if you’re a good fit for them, and if they’re a good fit for you.

In this post, we’ll share 12 “Why This College?” essay examples from real students and explain what they did well, and what could be improved. Read these examples to understand how to write a strong supplemental essay that improves your chances of acceptance.

Please note: 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.

Essay Example #1: UPenn Nursing

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.

What the Essay Did Well

This essay has many positive aspects, but the most impressive one is the structure. Utilizing the Five C’s of Caring to discuss Penn’s offerings was a genius way of tying in this student’s passion for nursing while also making their essay exciting and easy to read. Beginning each paragraph with the respective adjective helped focus the paragraph and allowed the student to demonstrate how they exemplify each quality without explicitly stating it. The student wasn’t afraid to think outside the box and add creativity to their essay structure, which really paid off.

Another positive is how specific and specialized the Penn resources and opportunities the student mentions are. This essay did not fall into the trap of name-dropping professors or programs. In every paragraph, there was a connection to something the student wants to do at Penn to further themselves in the respective characteristic they were describing.

Not only did this student mention a resource at Penn—whether it was a professor, a class, or a club—in every paragraph, but they elaborated on what that resource was and how it would help them achieve their goal of becoming a nurse. The what and how is what sets this essay apart from other supplements that just name-drop resources for the sake of it. The amount of detail this essay went into about some of these resources makes it clear to the admissions officers reading the essay that this student has seriously looked into Penn and has a strong desire to come to campus and use these resources.

What Could Be Improved

One thing this essay could do to make it stronger is improve the first paragraph. The student does a good job of setting up Sister Roach and the Five C’s, but they don’t mention anything about their desire to study or pursue nursing. The first paragraph mentions both Sister Roach and Penn, but left out the student. This could be fixed by simply adding something along the lines of “I can’t wait to embody these values as a nursing student at Penn” to the paragraph.

Essay Example #2: UPenn

Prompt: Considering the specific undergraduate school you have selected, how will you explore your academic and intellectual interests at the University of Pennsylvania?  For students applying to the coordinated dual-degree and specialized programs, please answer these questions in regard to your single-degree school choice; your interest in the coordinated dual-degree or specialized program may be addressed through the program-specific essay. (300-450 words)

I always loved watching the worms when it rained. I used to put my little raincoat on, sit on the doorsteps, and watch them move toward the puddles. My younger brother, forever intent on destroying the world around him, would try to stomp on the worms, and I would run after him screaming. In my imagination, the brain looked like a pile of squiggly worms. However, my neuroscience curiosity has since grown beyond a worm’s habits.

For example, my mother thought that I was insane when I wanted to watch American Murder: The Family Next Door . To her immense relief, I was interested in the psychology of the criminal rather than the crime itself. Although neuroscience is my primary interest, I also hope to learn more about the intersection between law and medicine at the UPenn College of Arts and Sciences. I’ve been able to explore this topic through various projects at school such as presentations on juvenile crime and the death penalty.

At the University of Pennsylvania, I look forward to taking classes like Forensic Neuroscience (BIBB 050) as well as Neuroscience and Society (PSYC 247) both of which directly combine my two interests. Hopefully, the Take Your Professor to Dinner program resumes as I would make sure to talk to Dr. Daniel Langleben about his research on forensic functional brain imaging over a meal of Philly cheesesteaks.

I also hope to participate in the Race, Science, and Society Program where I can discover how race biases and neuroscience go hand-in-hand and contribute to the fight against racism. The Beyond Arrests: Re-Thinking Systematic-Oppression Group immediately caught my attention while looking at Penn’s opportunities to engage in relevant dialogue. My fascination with the criminal system began with reading Fyodor Dostoevsky’s Crime and Punishment , and Penn will both fuel that curiosity as well as introduce new questions about the world of justice reform.

As an eight-year Latin scholar and a five-time reader of the Percy Jackson franchise, I would like to take classes in the Penn Classical Studies department where I can learn more about the impact of ancient cultures on society today. Classes such as Greek and Roman Medicine (CLST 271) would intersect my interests in medicine and classical civilizations.

Although I do harbor a deep love for Philly cheesesteaks and enjoyment of running in strange places like the Woodlands Cemetery, the range of programs to support my diverse interests and unmatched opportunities to put learning into action make me confident that the University of Pennsylvania is the best university for me to succeed.

The real strength in the essay lies in the sheer number of details this student is able to include in a short space, without sacrificing style and flow. The first two paragraphs really have nothing to do with Penn, but the inclusion of them makes this response feel like an essay, rather than a list of offerings at Penn. Striking the balance is important, and the anecdote at the beginning ultimately humanizes the writer.

From the three unique courses to the specific professor and his research to the race and criminal justice programs, this student has clearly done their homework on Penn! The key to this essay’s success isn’t just mentioning the offerings at Penn that excite the student, but the context that explains how each opportunity fits into the student’s academic interests.

Adding book titles like Crime and Punishment and Percy Jackson to support their passion for the criminal justice system and classics are extra details that help us learn more about how this student pursues their passions outside of the classroom. Finding little ways to humanize yourself throughout the essay can take it from good to great.

One area of improvement for this essay is the structure. It follows a very traditional “ Why This College? ” framework—start with an anecdote, then discuss classes, and then extracurriculars and programs—that gets old quickly for admissions officers.

A great way to add some spice to the format would be to use a sample schedule for the day. This essay mentions three different classes, two different groups, and a Take Your Professor to Dinner opportunity. Together, that’s the recipe for a full day at UPenn!

There are a few ways to play around with an essay that follows a typical day-in-the-life. Maybe each paragraph starts with a time and explains what they do during that hour. Maybe they narrate walking through campus on their way from one class to the next and what they just learned. However they choose to go about it, adding in a playful spin to the traditional essay structure is one of the best ways to instantly set an essay apart from the crowd. 

Essay Example #3: UW Madison

Prompt: Tell us why you decided to apply to the University of Wisconsin-Madison. In addition, please include why you are interested in studying the major(s) you have selected. If you selected undecided, please describe your areas of possible academic interest. (650 words)

Essay – # Day 117

7:30 am… As I open my eyes, I look at the pinboard in front of my bed. Written in red block letters are two of the many goals of my life: “Make life better and more independent for the Visually impaired; Inspire kids to explore the field of STEM, making them the future problem solvers.“

Keeping these goals afresh in mind, I freshen up and prepare for the first class of the day, ​ECE 533 Image Processing. As the professor explains the Applications of Image Processing in Computer Vision, a light bulb sparks in my mind. I can modify the head contraption of PERIPHIS to identify objects in peripheral vision and alert the wearer via an earpiece using Text to Speech (TTS). 

After the class, I see Professor Mohit Gupta at the WISION Lab, where he shares his insights from the Block World Cameras system, which helps to geometrize 3D Man-made environments. We brainstorm ways we can implement this system on PERIPHIS.

Deep in the discussion and intrigued by my curiosity, he asked me where my interest in this niche field sparked during high school, and then I recount the incident from 9th grade: 

“In Hindi – Agar aaj mere paas paise hote to ye din na dekhna padta” (If I had money, I would not have had to see this day.) 

These were the words of Aadiya, a glaucoma patient, who couldn’t help but cry in despair as she injured herself in an accident just because she couldn’t sense the incoming traffic. During my visit to “Baroda Association for Blind (BAB)” for a survey, I saw and experienced firsthand how hard and inaccessible it is for an underprivileged visually impaired to locomote without anyone’s assistance. 

What happened next was my first adventure into the world of Computer Science and Engineering. I dedicated the next four years to find an affordable solution to a pressing problem. It was called PERIPHIS, a smart wearable that helps alert the visually impaired wearer of impending danger while locomoting.

When I finally presented this device to Aadiya, the smile on her face made me realize how big an impact technology can make in one’s life.

11:00 am… As I head to the Engineering Hall to complete my assignments of COMP SCI 570

Introduction to Human-Computer Interaction, I crossways with my roommate from the Chadbourne Residential College, who is also interested in researching applications of Computer Vision in real life. We fix a time to chat later. 

1:20pm… After a quick bite, I head to Human-Computer Interaction Laboratory. I expand my knowledge on different applications of Computer Science to make human life better than I found. I get fascinated when I see a few students building a child-friendly humanoid robot to teach kids the principles of Coding and AI. I hop in and share insights from my experience of being the President at AiGoLearning and kindling interest in STEM for young children. I explain how crucial the UI is when it comes to technology for the young.

5:00pm… To blow off some steam and socialize, I meet up with my fellow countrymen and artists at the Indian Graduate Students’ Association. We discuss and plan the upcoming Diwali Night Music at Shannon Hall. I feel proud to share my national identity while bringing out my musical self by contributing as a Tabla player at the student organization. 

As I close my day, I reflect and think of the most unique resource at UW. It is not the labs, research facilities, classes, but the people, including the professors and students, all aligned to a single goal: “Solving problems to make society a better place.”

10:00pm… I find my way back to my dorm room and write with red block letters on my pinboard: “Meet with at least 1 Badger every day and gain new insight from them.”

This essay is a stellar example. The day in the life formatting is a common way to spice up your “Why This College?” essay, but the way this writer executes it is nearly flawless.

Opening with the vision board makes the student’s college goals clear from the very start, and this was cleverly done since vision boards are naturally one of the first things you see when you wake up.

The student then takes us to specific courses and labs and shares their thoughts on how they could improve their invention, PERIPHIS. The author seamlessly includes background information on PERIPHIS by including this hypothetical conversation with a professor who speaks their native language.

As we go through the day, we can see that this student will not only be involved academically, but also socially. We learn how important their culture is to them and how they plan to share it with the campus community.

This essay does everything a “Why This College?” essay should: it shares the student’s goals and motivations behind them, how the university can support those goals, and how the student will engage with the campus beyond academics.

There’s not much this essay could improve, besides a few formatting and wording issues. The first line of this essay—“ Essay – # Day 117”—is a great attention-grabber, but the placement of the # symbol is confusing and perhaps should’ve been in front of the number.

There are also a couple spots where wording is a bit awkward, such as these lines:

I crossways with my roommate from the Chadbourne Residential College, who is also interested in researching applications of Computer Vision in real life. We fix a time to chat later. 

It should instead say something like “I run into my roommate” and “We schedule a time”. This is likely due to English not being the student’s native language, but could’ve easily been caught by proofreading from a native speaker.

Essay Example #4: Northwestern

Prompt: While other parts of your application give us a sense of who you are, we are also excited to hear more about how you see yourself engaging with the larger Northwestern community.

In 300 words or less, help us understand how you might engage specific resources, opportunities, and/or communities here. We are curious about what these specifics are, as well as how they may enrich your time at Northwestern and beyond.

For as long as I can remember, I have seen my parents, both farmers, struggling to produce food because of the challenges presented by the environment. Joining Northwestern’s community, and majoring in Environmental Engineering, will allow me to understand what are the reasons behind climate change and learn how to stop them and/or prevent them from happening. 

Having witnessed how plant diseases affect crops, I would like to collaborate in the PLANT-Dx project and in its widespread application. I strongly believe that it will be able to help farmers to improve the quality and quantity of their production, and reduce famine around the world. At some point in my education, I want to take advantage of the study-abroad programs Northwestern has to offer and learn about farming practices in a different part of the world. In addition, I want to conduct research on sustainable alternative farming methods that adapt to the new environmental conditions and that can be practiced in countries with fewer resources.

Apart from having access to outstanding professors, rigorous academics, and cutting-edge research resources, I will be able to be part of a close-knit community genuinely curious about others’ activities, truly passionate about what they do, and not afraid to step out of their comfort zone to make of this world a better place. Being part of Engineers for a Sustainable World at Northwestern will allow me to get to know people that share one of my passions in addition to learning and teaching how to apply sustainable practices in daily life.  

I am already looking forward to marching through the Weber Arch.

This essay is extremely cohesive, as it focuses on the student’s agricultural background and desire to study environmental engineering. The student mentions a couple resources specific to Northwestern, such as the PLANT-Dx project and Engineers for a Sustainable World.

Because of the background information the student provided, their motivations for participating in these opportunities is also clear. We can see that Northwestern would be a school that would help them achieve their goals.

There are two main aspects of the essay that could be improved: the writing and its specificity.

To begin with, the intro paragraph is a bit clunky and vague.  The student should have specified the challenges the environment has presented to their parents’ farming with detailed imagery about droughts or torrential rain. The final sentence about climate change is also much too broad, and the student should’ve stated a goal in a smaller niche of environmentalism.

For example, here’s what a rewritten strong intro paragraph might look like:

The drought this year was bad, and the once-flourishing tomato crops on my family’s farm were afflicted with Southern Blight. As my family and our community struggled to put food on the table for the third year in a year, I resolved to major in Environmental Engineering at Northwestern to learn how to preserve our agriculture in the face of climate change.

Another writing error is the typo in the final paragraph, where they write “to make of this world a better place”. It’s important to proofread your essay and have others help you proofread as well!

Finally, while the essay mentions a couple specific Northwestern resources, the other resources they mention are too vague.  The student could’ve improved by mentioning a specific study abroad program and a current research project on sustainable alternative farming methods. Most colleges let you study abroad and conduct research, so you need to explain why Northwestern is the best place for your goals.

Essay Example #5: NYU

Prompt: We would like to know more about your interest in NYU. What motivated you to apply to NYU? Why have you applied or expressed interest in a particular campus, school, college, program, and or area of study? If you have applied to more than one, please also tell us why you are interested in these additional areas of study or campuses. We want to understand – Why NYU? (400 words)

“A futuristic way of looking at academics,” the student panelist said during a New York University virtual information session. I reflected on a conversation I had with my grandma; she couldn’t understand how her vegetarian granddaughter could build a career in the food industry. However much I tried convincing her that vegetarianism was the future, as it offers substantial benefits to the environment and can offer health benefits to a growing population with the same environmental resources, she insisted that tofu would never provide the same satiation as meat. She was raised in a community where meat consumption was embedded in the culture, and its production is a large part of the country’s economy. In contrast, I had the privilege of living a few steps from San Francisco, with many restaurants and grocery stores dedicated to plant-based meat alternatives. Trying innovative recipes and products eventually allowed me to develop my own recipes. Upon my move to Nicaragua, where my grandmother is from, I found my food options to be limited, expensive and hard to find. So I developed my own small-scale solutions that did not break the bank and satiated grandma.

An institution that implements forward-thinking is what I need to reach my goals of changing the future of plant-based diets and people’s views on vegetarianism. NYU’s Nutrition and Food Studies program offers multiple disciplines of food studies that I will apply to my aspirations as a vegetarian. I plan to study under Adjunct Faculty Kayleen St. John, whose success in the plant-based industry and her teaching of the ‘Foundations of Plant-Based Nutrition’ in The Vegetarian Times excites me. The variety of classes like Introduction to Food History, Food Photography, and Food Systems: Food & Agriculture will give me an overview of what is available in the food industry to be prepared for all fields. Not to be cliche, but NYU’s proximity to the city is essential for the rapidly changing vegetarian industry. The multiculturalism available in NYC and NYU will allow me to understand the food system and diets of various cultures, religions, and areas. I can explore the extremes of the food industry, from fancy restaurants to public school cafeterias. These juxtapositions, much like the one I experienced after my move to Nicaragua, will allow me to broaden my reach and demonstrate that the vegetarian diet is not something reserved for select groups but a diet attainable to all. 

A core strength of this essay is the fact it takes its time to provide the reader with ample background on why this student is interested in nutrition and food studies and how they have grappled with difficult questions and surrounding this topic in the past. It’s okay to not mention anything about NYU for a whole paragraph if you are using that space to bring depth to your interests and tell the reader the crucial backstory behind pursuing your intended degree.

Another positive aspect is the inclusion of New York City for a purposeful reason. NYU admissions officers read thousands of essays that just talk about living in NYC for the sake of NYC—this is not what they want to hear. In contrast, this essay focuses on the vast and lively food scene in New York that the student considers to be an invaluable asset to her NYU education. This is a time where including New York actually plays to the appeal of NYU, rather than making it seem like the student is simply applying for the city.

Finally, this student clearly demonstrates that they are someone who wants to change the world for the better, but through their personal niche. NYU is looking for people who express this desire to be a changemaker, but oftentimes sweeping statements like “I want to change the world” come across as vague and disingenuous. The essay does mention changing diets and looking to the future, but it is focused within the student’s specific area of interest, making the claim to change the world more determined and authentic.

This essay could be made stronger if there was a bit more personal reflection included. The first paragraph provides a lot of details on the student’s vegetarianism and how it conflicts with her grandmother and her heritage. What it doesn’t include very much of is how the student thinks and feels about her diet being at odds with that of her family. 

Does this student feel they are betraying their heritage by being vegetarian? What emotions do they feel when people criticize vegetarianism? Why did they go vegetarian in the first place? Probing questions like these that get to the emotional core behind the story in the first paragraph would really help to build out this student’s backstory. We want to understand what their emotional responses and reasoning processes look like, so finding ways to include those into an already expositive paragraph would further bolster this essay.

Essay Example #6: NYU

My mother never takes off her Cartier necklace that my father gave her 10 years ago on their anniversary. As a child, I didn’t fully understand this attachment. However, on my 15th birthday, my aunt gifted me a ring, which was uniquely designed and made up of three rings linked together. Wearing it every day and making sure I would never lose it, I didn’t treat it like my easily replaceable childhood necklaces; it was my piece of luxury. This sparked my deep curiosity for the luxury world. The niche strives to provide the finest and most memorable experiences, as equally as my Japanese attention to detail and my French appreciation towards aesthetic beauty. In a constantly shifting environment, I learned that luxury chases timeless excellence.

NYU Stern’s BS in business and a co-concentration in management and marketing will fully immerse me in the business side of luxury fashion that I aim to pursue a future career in. The luxury marketing track, offered only by NYU, will enable me to assemble the most suited classes to reflect my interests. Specifically, NYU Stern’s exciting electives such as The Dynamics of the Fashion Industry seminar and Brand Strategy & Planning will encourage me to develop the skills that I was introduced to and grew keen on when running a virtual sustainable fashion auction.

As someone who has moved around from Paris to Tokyo, to Chicago and now Athens, I thrive in meeting and collaborating with others from diverse backgrounds. The school’s strong global outlook, demonstrated through Stern’s International Business Exchange Program, further sets NYU apart for me, as it is crucial to building essential soft skills. This opportunity allows me to experience new cultural approaches to luxury business which I can bring back with me to New York, and therefore push me to become a well-rounded business student. Similarly, I am excited to take part in the array of student clubs offered, such as the Luxury and Retail Association (LARA), which I learned about after connecting with and talking to current students. Seeing past talks from employers of companies like Conde Nast, I am eager to learn outside of the classroom from future speakers. 

Finding myself in new situations constantly, I always seek new challenges and explorations – to me, it is clear that NYU Stern will push me to create the finest and most unique learning experiences of timeless excellence.

This essay has an amazing introduction paragraph. It doesn’t mention anything about NYU or what this student is planning on studying, which is what makes it so intriguing. The reader doesn’t know where this student is headed after making such a seemingly unrelated statement about jewelry, but we want to find out. 

Not only does this essay immediately capture the reader’s attention, it maintains a succinct and direct tone that helps the reader effortlessly flow from one paragraph to the next. The student chose to include three opportunities at NYU that excite them and fully elaborate on them. This serves as an excellent example of more is less. 

We aren’t bombarded with a laundry list of classes, professors, and clubs the student wants to take. Instead, the student took a focused approach and described why they were excited by each offering they highlighted. Going deeper into a smaller number of opportunities at the college still shows this student did their research, but it allows for their backstory and goals to be discussed in far greater detail.

While this student does a good job of elaborating, they also mention a few key aspects of their personality as throw-away lines, when it would have been great to elaborate further on them. For example, they mention running a virtual sustainable fashion auction (cool!), but don’t provide us with any details on what that actually entails, how they got involved with it, what they enjoyed about it, etc. They also mention moving around a lot in the context of developing a diverse perspective, but they don’t include any emotional insight into what that was like.

Although there are only 400 words available, and you don’t want to spend too much time discussing the past, it would be nice to see just a sentence or two that delves into the details of this student’s background. The fashion auction and moving around clearly had an impact on the student, so we want to know what that was. If they are choosing to include these details, they must be important in the student’s decision to pursue business at NYU, so they shouldn’t be afraid to divulge the emotional significance to the reader.

Essay Example #7: Boston University

Prompt: In no more than 250 words, please tell us why BU is a good fit for you and what specifically has led you to apply for admission.

Boston University’s College of Arts and Sciences (CAS) attracts me because of its support of interdisciplinary study among its wide array of majors. In fact, the CAS now offers a course that combines biology, chemistry, and neuroscience. As I hope to conduct medical research into brain disorders, I plan to pursue all three areas of study. These cross-disciplinary connections at BU will prepare me to do so.

CAS’s undergraduate research program would allow me to work with a mentor, such as Dr. Alice Cronin-Golomb or Dr. Robert M.G. Reinhart related to their research on neurological disorders. With them, I can advance the work I have already completed related to Dissociative Identity Disorder (DID). In a summer class at our local university, my partner and I extracted data from fMRI and PET studies and inputted them into a coding program. We then created an indicator map, which we imported into another software program, AFNI, to display significant activity in the brain regions affected by DID. Seeing the representation of our data thrilled me because I knew it could eventually help people who live with DID. I want to experience that feeling again. Successfully analyzing these fMRI and PET studies and learning to code drives me to pursue more research opportunities, and this desire motivates me to study at a university that offers research opportunities to undergraduates. BU’s interdisciplinary approach to psychology and support for independent undergraduate research will optimally prepare me for a career as a neurological researcher.

This student clearly outlines BU-specific resources (the interdisciplinary course and undergrad research program), plus how these resources align with their professional goals (to become a neurological researcher). They do name professors, but since their work clearly relates to the student’s interests, it doesn’t look disingenuous, and shows that the student has done research on their fit with BU. The student also provides background on why they want to pursue research, and shows that they already have experience, which makes their interest in the undergrad research program more concrete.

The only thing missing from this essay is the student’s fit with BU in terms of extracurriculars and social life. “Why This College?” essays should also cover extracurriculars, as colleges are also interested in how you’ll contribute to their community. 

In general, these essays should be academic-leaning (especially if they’re under 250 words), but you should still address some social aspects of the college that appeal to you (we recommend about 70% academics, 30% social, with more or less focus on social aspects depending on the word count). 

Since the student probably already detailed their previous research in their Common App activities section, they could’ve just summarized their research background in one sentence (instead of 78 words, which is 31% of the total word count!), and used that valuable space to talk about a specific social aspect of BU that interests them. 

Essay Example #8: Boston University

Prompt: In no more than 250 words, please tell us why BU is a good fit for you and what specifically has led you to apply for admission. 

I am fascinated by research, though completely uninterested in the disciplines traditionally associated with it, such as STEM fields. I need to find a school that will balance my desire to conduct research with my interest in political science. 

While many schools boast in-depth student research programs for those looking to cure diseases or develop solutions to global warming, few tout their support for humanities research. Additionally, many universities that do allocate funding to social science research typically reserve these monies for graduate students or upperclassmen. BU, with the help of its Undergraduate Research Opportunities Program, will allow me to conduct research on the topics that most intrigue me, such as gender disparity in politics, or the relationship between dominant parties in power and the country’s economy and involvement in foreign affairs. Furthermore, I can begin these studies as early as my first year. Not only can I take classes with professors like Sandra McEvoy or Dino Christenson to develop my interests in a classroom setting, but I could also work with one of them to develop new knowledge in the topics that we both enjoy learning about. With this knowledge base and experience conducting studies with top professors in a respected research institution, I will be well-prepared for my future law career. I want to learn in an environment that encourages independent study no matter one’s field of interest or experience, and BU’s support of intellectual curiosity for all of its students makes it a perfect fit for me.

This student knows exactly what they want, and they’re not afraid to state it bluntly. Their intro paragraph is totally honest about their interests (or lack of interest), and we immediately understand one of their main college goals: to conduct political science research.

The student mentions a specific resource, the Undergraduate Research Opportunities Program, as well as an alignment with BU’s value of encouraging independent study in all fields. Showing alignment with a specific value of the university is a great way to take your essay to the next level.

This essay shows us that the student would be a great fit for BU and would take advantage of its research opportunities.

The writer mentions some of their research interests, but doesn’t explain the motivation behind them. We don’t actually learn very much about the student themself, which is a common flaw of “Why This College?” essays. The essay would’ve been stronger if they’d explained why they’re interested in “gender disparity in politics, or the relationship between dominant parties in power and the country’s economy and involvement in foreign affairs.” For example, maybe they feel strongly about abortion rights and are upset about the way men have been legislating women’s rights.

The student also names two professors whose classes they’d like to take and with whom they’d like to do research, but we aren’t told which classes they’re interested in, or which topics they could cover together. You want to avoid “name-dropping” professors without context in your essay. If the student shared the names of specific classes or research topics and why they’re interested in them, that would’ve strengthened their essay.

Essay Example #9: Tufts

Prompt: Why Tufts? (100 words) 

When Deanne, Tufts’ admissions counselor, visited my school, she immediately caught my attention by emphasizing Tufts’ diverse yet unified campus. Tufts’ inclusive definition of diversity goes beyond merely recruiting students from a variety of backgrounds. Tufts seeks to integrate these categories of diversity and pushes its students to learn from one another. One such intersectional program that attracts me is CAFE (Conversation, Action, Faith, and Education). By joining CAFE, a community that promotes interfaith education, I will learn from my peers, become more understanding of other religious backgrounds, and apply this broader understanding to my academic work at Tufts.

It’s hard to write a “Why This College?” essay in 100 words. This essay does a good job sticking to one unique element of Tufts—its intersectionality. Since Tufts also cares about demonstrated interest, it’s great that the student also mentioned speaking with an admissions counselor. 

We unfortunately don’t learn very much about the student from this essay. Why do they care about diversity and interfaith programs? How does this relate to their academic and career goals? While the word count is super short, they could’ve cut these lines and jumped right into the specific resource they’re interested in: Tufts’ inclusive definition of diversity goes beyond merely recruiting students from a variety of backgrounds. Tufts seeks to integrate these categories of diversity and pushes its students to learn from one another.

Here’s an example of a stronger version of this essay:

When a Tufts admissions counselor visited my school, she immediately caught my attention by emphasizing Tufts’ diverse yet unified campus. As a Muslim hoping to go into International Relations, I want to attend a school that not only recruits diverse students, but pushes them to learn from one another. I hope to join intersectional programs such as CAFE (Conversation, Action, Faith, and Education). By joining this community that promotes interfaith education, I will gain the necessary perspective and compassion to become a human rights lawyer in countries with religious conflict, such as my homeland Azerbaijan.

Essay Example #10: Tufts

Prompt: Why Tufts? (100 words)

Someday I hope to conduct medical research in developing countries; Tufts attracts me because of its wide array of majors it offers and support for undergraduate research. To understand the human brain, I hope to study biology, neuroscience, and psychology. In addition to outstanding faculty in each of these areas, Tufts also organizes initiatives including the International Research Program. Through this program, I would work with other students and faculty members on an international project related to brain diseases. This opportunity will give me a taste of my future career and help me narrow the scope of my later studies.

This essay does a better job of sharing the student’s goals with us compared to the previous Tufts essay. We learn that the applicant is interested in medical research in developing countries on brain diseases, and that Tufts has a program to support international research.

The essay still mentions some resources that could apply to many schools, which is not an effective use of the tiny word count. For example, they say: “Tufts attracts me because of its wide array of majors it offers and support for undergraduate research” and they mention the “outstanding faculty” in the fields they plan to study.

They also don’t tell us their motivation behind studying brain diseases abroad, and it feels like there’s a significant story there. Giving some background would’ve further strengthened their essay.

Finally, they mention that they still need to narrow the scope of their studies; while it’s fine to be undecided on your career and majors, you don’t need to spend your precious word count saying that in your essay. They could’ve instead shared a couple potential avenues they’re considering.

Here’s what the student could’ve written instead:

Outcomes for schizophrenia patients are better in developing countries than in developed ones. I hope to research the reasons behind this and improve the treatment options in the US for the cousin I grew up with. In college, I want to study biology, neuroscience, and psychology. Tufts attracts me because of its unique interdisciplinary BS in Cognitive and Brain Science and its International Research Program. Through this program, I could do the research I’ve dreamt of doing with a faculty member and other students, preparing me for my future career as either a researcher or clinician.

Essay Example #11: Georgia Tech

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

Climate change is a human rights issue.  

There the headline was, screaming on my phone screen. I think about those suffering from a lack of clean water. I think about those suffering from a lack of clean air. 

I often think back to that headline – it’s what drives my passion for environmental engineering. As an environmental engineer, I can mitigate air pollution and design water treatment systems that address the water injustices that people face. However, it’s not just about creating a technology that cleans water; it’s about changing people’s lives. New technologies can make a lasting difference in humanitarian issues worldwide; Georgia Tech’s research on creating a toilet that turns human waste into clean water for those in need of improved sanitation aligns perfectly with my interests.   

At Georgia Tech, through the student-led organization, Engineers for a Sustainable World and the InVenture Prize, I can translate the knowledge gained from my classes into a concrete vision. I can design and implement hands-on sustainability projects around Atlanta and invent a water sanitation system for the on-site acquisition of clean water. 

Georgia Tech can also provide me with ample research opportunities, such as the broad area of Healthy Communities in the School of Civil and Environmental Engineering. I can further pursue my interest in developing solutions to deliver clean water while welcoming new areas of inquiry. An area I would like to explore would be the controlling of dangerous matter in the air to reduce health hazards; reducing the impact of climate change is of utmost importance to me. 

Studying environmental engineering at Georgia Tech would well prepare me to develop solutions to climate-related issues. With the countless opportunities that Georgia Tech has to offer, I know there is nowhere else where I can receive a better environmental engineering education.

What the Essay Did Well l

This essay begins with an attention-grabbing statement that leaves the reader wondering how this will relate to the student’s interest in Georgia Tech. They then transition seamlessly into how climate change and human rights motivate their desire to become an environmental engineer.

The student mentions several resources specific to Georgia Tech that would help them achieve their goals, such as the research on the toilet turning waste into water, Engineers for a Sustainable World, InVenture Prize, and Healthy Communities research. It’s clear that they did their research and have reflected on their fit with the campus community.

They end the essay explicitly stating that Georgia Tech is the best place for them to grow, and the reader is certainly convinced of this by the end.

This essay is quite strong, so there’s not much that the student could’ve improved. That said, there is one sentence that is a bit awkwardly worded: New technologies can make a lasting difference in humanitarian issues worldwide; Georgia Tech’s research on creating a toilet that turns human waste into clean water for those in need of improved sanitation aligns perfectly with my interests.

Instead, the student could’ve written:

New technologies can make a lasting difference in humanitarian issues worldwide; Georgia Tech aligns with this value of mine and is even developing a toilet that turns human waste into clean water for those who need improved sanitation.

Essay Example #12: Georgia Tech

From my first Java project, a somewhat primitive graphing calculator, I realized that CS unlocks a different way of thinking. My brain races at speeds it seldom touches with other subjects. Every part of CS, from conceptualizing a plan to executing a solution, is another piece of a puzzle I’m eager to solve and affords the most opportunities for creative problem-solving and application. 

“Progress and Service,” Georgia Tech’s motto, tells me there’s no better place to explore my curiosity and deepen my CS skills while simultaneously helping make the world a better place, my ultimate goal for a college education. 

In the classroom, I look forward to GT’s threads program, where I can tailor the curriculum to suit my career choice after exposing myself to all technical aspects of CS.

I’ll apply my specialized learning with Tech’s fascinating research opportunities. Professor Pandarinth’s brain-machine interfacing software means a lot to me. My uncle passed away from a freak accident after extensive paralysis because potential treatments were unaffordable. Exploring this revolutionary brain decoding software wouldn’t just involve me in cutting-edge artificial intelligence technology research, I’d be personally driven to ensure its success and accessibility. 

I’m at my best building towards tangible results. I learned this on my robotics team using design skills to create a technically complex robot that tackles anything from shooting balls to hanging on a balance beam. I’m excited to expand my skills on the RoboJackets team, applying my career interests to build ferocious BattleBots and autonomous race robots that compete on the Indy Speedway, two events that sound ridiculously fun. 

Of course, I can’t skip hackathons. These competitions molded my interest in coding so I want to give back to Georgia Tech’s Hack-Community by planning HackGT and the Catalyst Mentorship program as a member of the Hexlabs team. 

The student’s passion for CS shines through this essay. They explain what they love about the subject (the problem-solving aspect) and they share that they hope to make a difference through CS, demonstrating alignment with Tech’s motto of  “progress and service”.

It’s clear that this student has done their research, mentioning specific academic programs, research, and clubs. We can see that they’d be greatly engaged with the campus community.

Finally, this essay is also down-to-earth. The student doesn’t try to use impressive vocabulary or formal language. In fact, they even describe some extracurriculars as “ridiculously fun.” While you shouldn’t get too informal in your essays, this student’s casual tone in this context makes them feel more approachable and more excited about the prospect of going to Georgia Tech.

This essay has a couple sentences that are confusing to read:

Every part of CS, from conceptualizing a plan to executing a solution, is another piece of a puzzle I’m eager to solve and affords the most opportunities for creative problem-solving and application.

This sentence could’ve been broken up and rewritten as:

Every part of CS, from conceptualizing a plan to executing a solution, is another piece of a puzzle I’m eager to solve. For me, the field affords the most opportunities for creative problem-solving and application.

This sentence also uses incorrect grammar—the comma should be replaced with a semicolon:

Exploring this revolutionary brain decoding software wouldn’t just involve me in cutting-edge artificial intelligence technology research, I’d be personally driven to ensure its success and accessibility. 

These details would make the essay more readable.

The organization of the essay could also be reworked. The student mentions Tech’s motto of “progress and service,” but doesn’t follow up until later with an example of how they’d use CS for the greater good. Using CS for social good isn’t ultimately the theme of their essay, so this section would’ve been better placed at the end of the paragraph about AI technology research, or at the very end of the essay. The essay actually ends abruptly, so placing the section at the end might’ve tied it up nicely, if the student could’ve placed more emphasis on how they plan to use CS to improve society.

Do you want feedback on your “Why This College” essays? After rereading your essays countless times, it can be difficult to evaluate your writing objectively. That’s why we created our free Peer Essay Review tool , where you can get a free review of your essay from another student. You can also improve your own writing skills by reviewing other students’ essays. 

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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Personal essay: why i love traveling so much.

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Updated: 26 April 2023

Even at first glance, it is so obvious to everyone who meets me that I love traveling. The idea of travel, packing my bags and disappearing to someplace new, lives inside the brain allllll the time. I mean, I spend my spare time on Google flights, haha.

Not to mention, whenever I meet someone for the first time or even encounter an old friend, I instantly want to talk about my upcoming trips, ask about their own adventures, share embarrassing and funny travel stories, and swap bucket list ideas.

And yeah, I’ll admit it. I’m probably a little annoying to my non-traveling friends and acquaintances, but I can’t help myself. My “wanderlusty” passion seeps through my pores, out of my control.

Passion is a good thing, I guess?

A few years ago, on my 29th birthday, I wrote about 29 Ways Travel Changes You forever. I know that ever since I started my solo adventures, I slowly morphed into a far more spontaneous, well-rounded, and grateful person. I used to freak out at plans changing or sudden cancellations, but now, disruption to my routine just rolls off my shoulders. 

Although I still stand by the ideas in that post, I wanted to return to my “graduate school” roots and felt inspired to write an entire essay explaining why I love traveling so much, haha. I know it is stating the obvious in many ways, but sometimes we all need a little dose of inspiration, especially after the stress and uncertainty of the COVID-19 pandemic that put global travel on hold for nearly two years. 

Exploring the world costs time and money (not to mention, boarding planes stresses me to the max!) so the trade-offs need to be worth it, right?

Table of Contents

“I Love to Travel Because” — A Complete Essay

Okay, full disclosure , some of the reasons why I love traveling are totally superficial and shallow.

I mean, think about it. Travel makes you look cool. For instance, an ongoing joke about dating apps (haha) is that every single profile professes a deep love of travel. It’s damn near cliche at this point. And I understand why. 

I also love to travel, because being in a new place means I’m allow to indulge and spoil myself. Pampering myself has become even more important on solo trips in my 30s , honestly.

I mean, isn’t it nice to eat a lot of delicious food, explore museums stuffed with world class art, and capture the perfect Instagram shot on top of a mountain crowned in a pink sunrise’s glow? Of course!

However, all jokes aside, I love to travel for deeper personal reasons, too. The experiences go far beyond pretty pictures and a full stomach.

I deeply believe travel makes you richer, not in your wallet, but in your intelligence and compassion. Not to mention, roaming this planet makes you realize your full potential and helps you learn what makes you truly happy. Let’s break it down.

Travel is My Passion

Life without passion is a prison sentence, in my opinion. Each day blends together until they are identical.

Wake up. Go to work. Eat dinner. Watch television. Sleep.

Time slips away without accomplishing anything. Not good.

We’re all on this earth for a deeper purpose. We need to discover that purpose and let it embrace us. By doing that, we cultivate the abilities to face any challenges that come flying in our direction.

For me, travel is my passion. Travel is my purpose. Not to mention, I channel this passion by using my own experiences to help people feel brave enough to take the trips of their dreams.

Recently, I’m listening to a lot of motivational podcasts on my commutes to work. For example, I love “The School of Greatness” and think these interviews provide great insight on practical ways to improve yourself. Seriously, if you’re struggling, then give this podcast a try.

Anyway, one of the reoccurring themes on “The School of Greatness” is to find a passion and purpose in life. No one can take passion away from you. It’s freeing.

And travel? Is a beautiful passion. Most importantly, I like to learn about humanity, beyond my country’s borders, in order to better connect with others. It’s a blessing.

Travel Helps Me Believe in People.

Travel restores my faith in people. It’s true.

Okay, I hate to out myself on this blog, but I’m a total cynic sometimes. Full disclosure.

In general, I have a very hard time trusting people, mostly because I worry they’ll lie or take advantage of me. And sadly, some people have done just that (another story for another day, my friends). It’s super challenging not to be jaded.

Yet travel reminds me so many kind-hearted, inspiring, brave, and intelligent people exist in the world. For example, I’ll never forget how complete strangers invited me to lunch in Nazare and helped me find the way to Stockholm after my train was canceled.

I’ve also had strangers talk to me on planes to calm my anxiety over flying. I had one woman stay awake the entire flight on my trip to Madrid, for instance, and reassure me whenever we hit a bump in the sky.

Travel reminds you that most people are inherently good. They are. I promise.

Even at home, the travel community’s members never stop encouraging me to transform into a better version of myself. For example, attending Women’s Travel Fest in New York City connected me with so many incredible women who are living their best lives every single day.

Travel Heals My Insecurities.

On a similar note, I’m a person who loves to travel, because exploring the world builds incredible self-confidence and worth. I’m able to accept and embrace my flaws much more readily after traveling somewhere epic and having time to reflect.

In our society, there’s an unspoken pressure to embody perfection, and falling short of that standard isn’t acceptable.

Think about it. When was the last time you felt safe admitting that you were angry or jealous and received zero judgement or advice regarding your turbulent feelings?

We all have flaws and insecurities. We’ll never reach this ridiculous idea of perfection either. 

Travel gives you a chance to push beyond these troublesome traits, which we all have, and even accept them for what they are.

Is traveling alone scary? Absolutely.

However, the fear is invaluable, because you need to get out of your comfort zone for personal growth to happen. For example, I was terrified to go paragliding in Slovenia, not only because I hate flying on general principle, but because I’ve never identified myself as a dare devil. I felt like an imposter. But when my feet touched the ground again, I realized how much courage I actually possess. Cool, huh?

As I’ve said, we all deal with insecurities. All of us. But these supposed flaws don’t have to define us. Another major reason why I love traveling is because I was able to move beyond these flaws.

Travel Makes Me Appreciate Natural Beauty.

I’m a city gal at heart. New York City is my “happy place,” because I love the endless entertainment options, great shopping, and diverse population. Bring me the city lights.

On the other hand, travel forces me to return to nature and foster a deeper appreciation for the earth. My breath was taken away in both the Scottish Highlands and Banff National Park. Crystal clear glacier lakes. Massive green mountains. Fresh air filling my lungs. Our planet is an absolute gem.

I’m even willing to get my hands dirty now!

And, even at home, I’m trying to make getting out into nature a priority. I will say New Jersey has plenty of beautiful beaches, and I fully intend to take advantage of them.

Travel Has Me Falling in Love with Myself.

Self-love is grossly underestimated.   A lot of us are taught to place other peoples’ needs ahead of our own – which is especially true for women. Society pressures and molds us into the perfect daughters, sisters, friends, girlfriends, wives, mothers.

When do we have time to pour the same kindness back onto ourselves to ensure we’re mentally healthy and happy?

There aren’t enough hours in a day. It’s sad.

Travel reclaims your time, and lets you spoil yourself. It’s amazing.

For instance, I took myself out on dates in Seattle. I bought super expensive chocolate and sat in the park and took pictures of Mount Rainier, and it was the best thing ever. I also spent over $70 on myself at the Walrus and the Carpenter in Ballard, and didn’t care that my indulgence had reached ridiculous levels. I was worth it, damn it!

By traveling alone, you can give the love that you freely hand out to everyone to yourself. Be selfish. It’s a wonderful feeling.

Ultimately, I Love to Travel and Experience New Cultures.

My passion for new places and cultures isn’t something that appeared out of nowhere in my adult life. Far from it.

I’ve always wanted to travel ever since I was young. When I was in middle school (wow, I was twelve at one point?), I was convinced that I would move to England and design houses.

While I think the latter had to do with playing too much Sims , my desire to explore beyond the borders of the United States never weakened. Not once.

Travel has made me a stronger person, and I couldn’t imagine my life without endless plane tickets and backpacks. Breaking outside my comfort zone strengthens my self-esteem. It’s a precious gift, the best one I can give myself.

Finally I feel like I have a deeper appreciation for the world now. I’m not as closed off or shallow, and consider myself very receptive to different opinions and ways of life. Travel makes me a better person.

If You are a Person Who Loves to Travel …

We’re soul sisters (or brothers if you’re a dude! Haha).

Here’s some final parting wisdom for my fellow travelers. Know that I think you’re amazing for pursuing your passions!

Don’t Feel Guilty.

You’re probably on the receiving end of some judgment. Do any of these lovely nuggets sound familiar?

“Enjoy it now. When you’re married and have kids, you won’t be able to travel anymore.”

“Don’t you want to settle down?”

“Are you running from something?”

These statements are intended to make you feel guilty. End of story. Don’t ever apologize for traveling too much!

You’re allowed to travel as much (or as little) as you want without other people impacting your choices. So, whenever you hear varieties of the above comments, simply smile and nod and move on. Guilt has no place in your adventurous life. BYE.

Share Your Travel Passions with Others.

Even as a solo traveler, we want to talk to people who have the same passions as us. It’s only natural. So, being part of a community makes travel even more special.

Facebook has several groups and communities that will connect you with fellow travelers. I love giving travel advice to random strangers in these groups! It makes me feel important.

Not to mention, it’s an easy way to hook up with likeminded people when you’re in a new country or city.

Furthermore, if you run a travel blog, then you can join classes and workshops (such as BlogHouse) , and also attend blogging conferences to make new friends. My blogger friends are some of the greatest people I know, and they support my dreams and goals whenever I feel low. Their encouragement is irreplaceable. You can’t put a price tag on it.

Finally, if you live in or are close to a big city, then check out your local Travel Massive chapter. These events will connect you with travel industry members and influencers, which is great if you’re planning on starting a travel blog.

Not planning on running a travel business? Still go to Travel Massive and make friends! The atmosphere has always been very welcoming.

Share your passion and build a supportive circle.

Implement “Travel Lessons” at Home.

Most of us aren’t digital nomads. We have a permanent address with established careers. We don’t travel 24/7. But another reason why I love traveling is because I can take those memories home with me. 

Regardless, it’s easy to fall into depression at home when you love to travel so, so, so much. Sometimes you even feel like an “outsider” in your own neighborhood, but don’t let isolation creep into your brain. It’s a mistake.

Instead treat your home as another travel destination. Local getaways are fantastic.   Research a cool attraction, park, or restaurant in your own backyard and then go explore.

Curiosity and wonder doesn’t die simply because you’re at home now. You never know what special gems might lurk around the corner.

Get out there!

Are you a person who loves to travel (I think I know the answer to this one)? Why do you love traveling? What trips have created the fondest memories for you? Share all your thoughts in the comments. Thanks (as always) for your continued support.

Rachel Elizabeth

At 22, I took my first overseas trip to Bermuda. Took a break to follow the "American Dream." Had my self-esteem broken. Embarked on my first solo trip to Scotland at 26. The travel bug dug its way under my skin. I now book multiple trips a year.

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How Does Writing Fit Into the ‘Science of Reading’?

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In one sense, the national conversation about what it will take to make sure all children become strong readers has been wildly successful: States are passing legislation supporting evidence-based teaching approaches , and school districts are rushing to supply training. Publishers are under pressure to drop older materials . And for the first time in years, an instructional issue—reading—is headlining education media coverage.

In the middle of all that, though, the focus on the “science of reading” has elided its twin component in literacy instruction: writing.

Writing is intrinsically important for all students to learn—after all, it is the primary way beyond speech that humans communicate. But more than that, research suggests that teaching students to write in an integrated fashion with reading is not only efficient, it’s effective.

Yet writing is often underplayed in the elementary grades. Too often, it is separated from schools’ reading block. Writing is not assessed as frequently as reading, and principals, worried about reading-exam scores, direct teachers to focus on one often at the expense of the other. Finally, beyond the English/language arts block, kids often aren’t asked to do much writing in early grades.

“Sometimes, in an early-literacy classroom, you’ll hear a teacher say, ‘It’s time to pick up your pencils,’” said Wiley Blevins, an author and literacy consultant who provides training in schools. “But your pencils should be in your hand almost the entire morning.”

Strikingly, many of the critiques that reading researchers have made against the “balanced literacy” approach that has held sway in schools for decades could equally apply to writing instruction: Foundational writing skills—like phonics and language structure—have not generally been taught systematically or explicitly.

And like the “find the main idea” strategies commonly taught in reading comprehension, writing instruction has tended to focus on content-neutral tasks, rather than deepening students’ connections to the content they learn.

Education Week wants to bring more attention to these connections in the stories that make up this special collection . But first, we want to delve deeper into the case for including writing in every step of the elementary curriculum.

Why has writing been missing from the reading conversation?

Much like the body of knowledge on how children learn to read words, it is also settled science that reading and writing draw on shared knowledge, even though they have traditionally been segmented in instruction.

“The body of research is substantial in both number of studies and quality of studies. There’s no question that reading and writing share a lot of real estate, they depend on a lot of the same knowledge and skills,” said Timothy Shanahan, an emeritus professor of education at the University of Illinois Chicago. “Pick your spot: text structure, vocabulary, sound-symbol relationships, ‘world knowledge.’”

The reasons for the bifurcation in reading and writing are legion. One is that the two fields have typically been studied separately. (Researchers studying writing usually didn’t examine whether a writing intervention, for instance, also aided students’ reading abilities—and vice versa.)

Some scholars also finger the dominance of the federally commissioned National Reading Panel report, which in 2000 outlined key instructional components of learning to read. The review didn’t examine the connection of writing to reading.

Looking even further back yields insights, too. Penmanship and spelling were historically the only parts of writing that were taught, and when writing reappeared in the latter half of the 20th century, it tended to focus on “process writing,” emphasizing personal experience and story generation over other genres. Only when the Common Core State Standards appeared in 2010 did the emphasis shift to writing about nonfiction texts and across subjects—the idea that students should be writing about what they’ve learned.

And finally, teaching writing is hard. Few studies document what preparation teachers receive to teach writing, but in surveys, many teachers say they received little training in their college education courses. That’s probably why only a little over half of teachers, in one 2016 survey, said that they enjoyed teaching writing.

Writing should begin in the early grades

These factors all work against what is probably the most important conclusion from the research over the last few decades: Students in the early-elementary grades need lots of varied opportunities to write.

“Students need support in their writing,” said Dana Robertson, an associate professor of reading and literacy education at the school of education at Virginia Tech who also studies how instructional change takes root in schools. “They need to be taught explicitly the skills and strategies of writing and they need to see the connections of reading, writing, and knowledge development.”

While research supports some fundamental tenets of writing instruction—that it should be structured, for instance, and involve drafting and revising—it hasn’t yet pointed to a specific teaching recipe that works best.

One of the challenges, the researchers note, is that while reading curricula have improved over the years, they still don’t typically provide many supports for students—or teachers, for that matter—for writing. Teachers often have to supplement with additions that don’t always mesh well with their core, grade-level content instruction.

“We have a lot of activities in writing we know are good,” Shanahan said. “We don’t really have a yearlong elementary-school-level curriculum in writing. That just doesn’t exist the way it does in reading.”

Nevertheless, practitioners like Blevins work writing into every reading lesson, even in the earliest grades. And all the components that make up a solid reading program can be enhanced through writing activities.

4 Key Things to Know About How Reading and Writing Interlock

Want a quick summary of what research tells us about the instructional connections between reading and writing?

1. Reading and writing are intimately connected.

Research on the connections began in the early 1980s and has grown more robust with time.

Among the newest and most important additions are three research syntheses conducted by Steve Graham, a professor at the University of Arizona, and his research partners. One of them examined whether writing instruction also led to improvements in students’ reading ability; a second examined the inverse question. Both found significant positive effects for reading and writing.

A third meta-analysis gets one step closer to classroom instruction. Graham and partners examined 47 studies of instructional programs that balanced both reading and writing—no program could feature more than 60 percent of one or the other. The results showed generally positive effects on both reading and writing measures.

2. Writing matters even at the earliest grades, when students are learning to read.

Studies show that the prewriting students do in early education carries meaningful signals about their decoding, spelling, and reading comprehension later on. Reading experts say that students should be supported in writing almost as soon as they begin reading, and evidence suggests that both spelling and handwriting are connected to the ability to connect speech to print and to oral language development.

3. Like reading, writing must be taught explicitly.

Writing is a complex task that demands much of students’ cognitive resources. Researchers generally agree that writing must be explicitly taught—rather than left up to students to “figure out” the rules on their own.

There isn’t as much research about how precisely to do this. One 2019 review, in fact, found significant overlap among the dozen writing programs studied, and concluded that all showed signs of boosting learning. Debates abound about the amount of structure students need and in what sequence, such as whether they need to master sentence construction before moving onto paragraphs and lengthier texts.

But in general, students should be guided on how to construct sentences and paragraphs, and they should have access to models and exemplars, the research suggests. They also need to understand the iterative nature of writing, including how to draft and revise.

A number of different writing frameworks incorporating various degrees of structure and modeling are available, though most of them have not been studied empirically.

4. Writing can help students learn content—and make sense of it.

Much of reading comprehension depends on helping students absorb “world knowledge”—think arts, ancient cultures, literature, and science—so that they can make sense of increasingly sophisticated texts and ideas as their reading improves. Writing can enhance students’ content learning, too, and should be emphasized rather than taking a back seat to the more commonly taught stories and personal reflections.

Graham and colleagues conducted another meta-analysis of nearly 60 studies looking at this idea of “writing to learn” in mathematics, science, and social studies. The studies included a mix of higher-order assignments, like analyses and argumentative writing, and lower-level ones, like summarizing and explaining. The study found that across all three disciplines, writing about the content improved student learning.

If students are doing work on phonemic awareness—the ability to recognize sounds—they shouldn’t merely manipulate sounds orally; they can put them on the page using letters. If students are learning how to decode, they can also encode—record written letters and words while they say the sounds out loud.

And students can write as they begin learning about language structure. When Blevins’ students are mainly working with decodable texts with controlled vocabularies, writing can support their knowledge about how texts and narratives work: how sentences are put together and how they can be pulled apart and reconstructed. Teachers can prompt them in these tasks, asking them to rephrase a sentence as a question, split up two sentences, or combine them.

“Young kids are writing these mile-long sentences that become second nature. We set a higher bar, and they are fully capable of doing it. We can demystify a bit some of that complex text if we develop early on how to talk about sentences—how they’re created, how they’re joined,” Blevins said. “There are all these things you can do that are helpful to develop an understanding of how sentences work and to get lots of practice.”

As students progress through the elementary grades, this structured work grows more sophisticated. They need to be taught both sentence and paragraph structure , and they need to learn how different writing purposes and genres—narrative, persuasive, analytical—demand different approaches. Most of all, the research indicates, students need opportunities to write at length often.

Using writing to support students’ exploration of content

Reading is far more than foundational skills, of course. It means introducing students to rich content and the specialized vocabulary in each discipline and then ensuring that they read, discuss, analyze, and write about those ideas. The work to systematically build students’ knowledge begins in the early grades and progresses throughout their K-12 experience.

Here again, available evidence suggests that writing can be a useful tool to help students explore, deepen, and draw connections in this content. With the proper supports, writing can be a method for students to retell and analyze what they’ve learned in discussions of content and literature throughout the school day —in addition to their creative writing.

This “writing to learn” approach need not wait for students to master foundational skills. In the K-2 grades especially, much content is learned through teacher read-alouds and conversation that include more complex vocabulary and ideas than the texts students are capable of reading. But that should not preclude students from writing about this content, experts say.

“We do a read-aloud or a media piece and we write about what we learned. It’s just a part of how you’re responding, or sharing, what you’ve learned across texts; it’s not a separate thing from reading,” Blevins said. “If I am doing read-alouds on a concept—on animal habitats, for example—my decodable texts will be on animals. And students are able to include some of these more sophisticated ideas and language in their writing, because we’ve elevated the conversations around these texts.”

In this set of stories , Education Week examines the connections between elementary-level reading and writing in three areas— encoding , language and text structure , and content-area learning . But there are so many more examples.

Please write us to share yours when you’ve finished.

Want to read more about the research that informed this story? Here’s a bibliography to start you off.

Berninger V. W., Abbott, R. D., Abbott, S. P., Graham S., & Richards T. (2002). Writing and reading: Connections between language by hand and language by eye. J ournal of Learning Disabilities. Special Issue: The Language of Written Language, 35(1), 39–56 Berninger, Virginia, Robert D. Abbott, Janine Jones, Beverly J. Wolf, Laura Gould, Marci Anderson-Younstrom, Shirley Shimada, Kenn Apel. (2006) “Early development of language by hand: composing, reading, listening, and speaking connections; three letter-writing modes; and fast mapping in spelling.” Developmental Neuropsychology, 29(1), pp. 61-92 Cabell, Sonia Q, Laura S. Tortorelli, and Hope K. Gerde (2013). “How Do I Write…? Scaffolding Preschoolers’ Early Writing Skills.” The Reading Teacher, 66(8), pp. 650-659. Gerde, H.K., Bingham, G.E. & Wasik, B.A. (2012). “Writing in Early Childhood Classrooms: Guidance for Best Practices.” Early Childhood Education Journal 40, 351–359 (2012) Gilbert, Jennifer, and Steve Graham. (2010). “Teaching Writing to Elementary Students in Grades 4–6: A National Survey.” The Elementary School Journal 110(44) Graham, Steve, et al. (2017). “Effectiveness of Literacy Programs Balancing Reading and Writing Instruction: A Meta-Analysis.” Reading Research Quarterly, 53(3) pp. 279–304 Graham, Steve, and Michael Hebert. (2011). “Writing to Read: A Meta-Analysis of the Impact of Writing and Writing Instruction on Reading.” Harvard Educational Review (2011) 81(4): 710–744. Graham, Steve. (2020). “The Sciences of Reading and Writing Must Become More Fully Integrated.” Reading Research Quarterly, 55(S1) pp. S35–S44 Graham, Steve, Sharlene A. Kiuhara, and Meade MacKay. (2020).”The Effects of Writing on Learning in Science, Social Studies, and Mathematics: A Meta-Analysis.” Review of Educational Research April 2020, Vol 90, No. 2, pp. 179–226 Shanahan, Timothy. “History of Writing and Reading Connections.” in Shanahan, Timothy. (2016). “Relationships between reading and writing development.” In C. MacArthur, S. Graham, & J. Fitzgerald (Eds.), Handbook of writing research (2nd ed., pp. 194–207). New York, NY: Guilford. Slavin, Robert, Lake, C., Inns, A., Baye, A., Dachet, D., & Haslam, J. (2019). “A quantitative synthesis of research on writing approaches in grades 2 to 12.” London: Education Endowment Foundation. Troia, Gary. (2014). Evidence-based practices for writing instruction (Document No. IC-5). Retrieved from University of Florida, Collaboration for Effective Educator, Development, Accountability, and Reform Center website: http://ceedar.education.ufl.edu/tools/innovation-configuration/ Troia, Gary, and Steve Graham. (2016).“Common Core Writing and Language Standards and Aligned State Assessments: A National Survey of Teacher Beliefs and Attitudes.” Reading and Writing 29(9).

A version of this article appeared in the January 25, 2023 edition of Education Week as How Does Writing Fit Into the ‘Science of Reading’?

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