an essay about my school in french

Write an essay in French

Beyond the fact that writing an essay in French can be a good practice to improve your writing, you may also be asked to write one during your schooling. So, it is important to study the topic of French essay writing and get some useful tips..

» Tips and tricks for your French essay » The structure of a French essay » Sample French Essay

Tips and tricks for your French essay

When writing a French essay for school, you should always use a structured approach and good French skills to present your arguments in a focused way. Beyond French skills, there are also important formal requirements for a successful French essay. We will come back to this in detail later. First, you will find some useful tips and tricks that will help you write more compelling and better French essays in the future.

• Have a clear thesis and structure
• Do sufficient research and use reliable sources
• Use examples and arguments to support your thesis
• Avoid plagiarism and cite correctly
• Always check structure, grammar and spelling

When you write your essay at school or university, you need to make sure that the general structure of your essay, the presentation of the arguments and, above all, your French language skills play a role in the mark you will get. This is why you should definitely take a closer look at the structure of an essay as well as the most important grammar rules and formulations for French essays.

The structure of a French essay

In an essay, you deal at length and in detail with a usually given topic. When you write an essay in French, you must follow a certain structure. Below we show you what this structure looks like and give you some tips for writing the most important parts of your essay.

The Introduction

The introduction prepares the main body of your essay. You think of a meaningful title for your essay, you describe your thesis or your question, you give general information on the subject and you prepare your argument by giving an overview of your most important arguments.

Below are examples and phrases that you can use to write the introduction to your essay in French.

The title should be meaningful, concise and reflect the content of the essay.

Introductory paragraph

The first paragraph of your French essay should briefly introduce the topic and engage the reader. Here are some examples to help you write your essay:

Proposal or question

The central proposition or question of your French essay should be a clear and concise definition of the purpose of the essay. Use these examples to get a clearer idea of ​​how to write theses in French:

Overview of Arguments and Structure

At the end of your introduction, describe the structure of the main part of your essay (your outline) and outline your argument. Here are some French expressions that will certainly help you write your essay:

The body of your essay

The main part of your French essay deals with the given topic in detail. The subject is studied from all angles. The main body of your essay follows a thread of argument and discusses in detail the main arguments of your thesis previously made in the introduction.

In the body of the text, you should discuss the subject of your essay in clear and concise language. To achieve this, we give you some wording aids as well as vocabulary and phrases that you can use to write your essay in French.

Formulation tools:

French vocabulary for essays.

In the conclusion of your French essay, you address the thesis of your essay, summarize the main points of your discussion in the main body, and draw a conclusion. On the basis of the arguments and the resulting conclusions, you formulate in the conclusion of your dissertation final thoughts and suggestions for the future. It is important that you do not add new information or new arguments. This should only be done in the body of your text.

Here are some wording guides to help you write your essay in French:

Sample French Essay

Les avantages des voyages linguistiques

Malgré les difficultés potentielles, les voyages linguistiques offrent aux apprenants une occasion unique d'améliorer leurs compétences linguistiques et de découvrir de nouvelles cultures, ce qui en fait un investissement précieux pour leur développement personnel et académique.

Les séjours linguistiques sont des voyages organisés dans le but d'améliorer les compétences linguistiques des participants. Ces voyages peuvent se dérouler dans le pays ou à l'étranger et durer d'un week-end à plusieurs semaines. L'un des principaux avantages des séjours linguistiques est l'immersion. Entourés de locuteurs natifs, les apprenants sont contraints de pratiquer et d'améliorer leurs compétences linguistiques dans des situations réelles.Il s'agit d'une méthode d'apprentissage beaucoup plus efficace que le simple fait d'étudier une langue dans une salle de classe.

Un autre avantage des séjours linguistiques est l'expérience culturelle. Voyager dans un nouveau pays permet aux apprenants de découvrir de nouvelles coutumes, traditions et modes de vie, et de se familiariser avec l'histoire et la culture du pays. Cela enrichit non seulement l'expérience d'apprentissage de la langue, mais contribue également à élargir les horizons et à accroître la sensibilisation culturelle.

Cependant, les séjours linguistiques peuvent également présenter des inconvénients. Par exemple, le coût du voyage et de l'hébergement peut être élevé, en particulier pour les séjours de longue durée. En outre, les apprenants peuvent être confrontés à la barrière de la langue ou à un choc culturel, ce qui peut être difficile à surmonter. Le coût et les difficultés potentielles des séjours linguistiques peuvent sembler décourageants, mais ils offrent des avantages précieux en termes d'épanouissement personnel et scolaire.

Les compétences linguistiques et les connaissances culturelles acquises peuvent déboucher sur de nouvelles opportunités d'emploi et améliorer la communication dans un cadre professionnel. Les bourses et les aides financières rendent les séjours linguistiques plus accessibles. Le fait d'être confronté à une barrière linguistique ou à un choc culturel peut également être l'occasion d'un développement personnel. Ces avantages l'emportent largement sur les inconvénients et font des séjours linguistiques un investissement qui en vaut la peine.

En conclusion, malgré les difficultés potentielles, les séjours linguistiques offrent aux apprenants une occasion unique d'améliorer leurs compétences linguistiques et de découvrir de nouvelles cultures, ce qui en fait un investissement précieux pour le développement personnel et académique. Qu'il s'agisse d'un débutant ou d'un apprenant avancé, un voyage linguistique est une expérience à ne pas manquer.

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How to Write an Essay in French

Have something to say?

When it comes to expressing your thoughts in French , there’s nothing better than the essay.

It is, after all, the favorite form of such famed French thinkers as Montaigne, Chateaubriand, Houellebecq and Simone de Beauvoir.

In this post, I’ve outlined the four most common types of essays in French, ranked from easiest to most difficult, to help you get to know this concept better. 

Why Are French Essays Different?

Must-have french phrases for writing essays, 4 types of french essays and how to write them, 1. text summary (synthèse de texte).

• 2. Text Commentary (Commentaire de texte)

3. Dialectic Dissertation (Thèse, Antithèse, Synthèse)

• 4. Progressive Dissertation (Plan progressif)

Download: This blog post is available as a convenient and portable PDF that you can take anywhere. Click here to get a copy. (Download)

Writing an essay in French is not the same as those typical 5-paragraph essays you’ve probably written in English.

In fact, there’s a whole other logic that has to be used to ensure that your essay meets French format standards and structure. It’s not merely writing your ideas in another language .

And that’s because the French use Cartesian logic (also known as Cartesian doubt) , developed by René Descartes , which requires a writer to begin with what is known and then lead the reader through to the logical conclusion: a paragraph that contains the thesis. Through the essay, the writer will reject all that is not certain or all that is subjective in his or her quest to find the objective truth.

Sound intriguing? Read on for more!

Before we get to the four main types of essays, here are a few French phrases that will be especially helpful as you delve into essay-writing in French:

Introductory phrases , which help you present new ideas.

Connecting phrases , which help you connect ideas and sections.

Contrasting phrases , which help you juxtapose two ideas.

Concluding phrases , which help you to introduce your conclusion.

The text summary or synthèse de texte  is one of the easiest French writing exercises to get a handle on. It essentially involves reading a text and then summarizing it in an established number of words, while repeating no phrases that are in the original text. No analysis is called for.

A  synthèse de texte  should follow the same format as the text that is being synthesized. The arguments should be presented in the same way, and no major element of the original text should be left out of the  synthèse.

Here is an informative post about writing a synthèse de texte , written for French speakers. 

The text summary is a great exercise for exploring the following French language elements:

• Synonyms , as you will need to find other words to describe what is said in the original text.
• Nominalization , which involves turning verbs into nouns and generally cuts down on word count.
• Vocabulary , as the knowledge of more exact terms will allow you to avoid periphrases and cut down on word count.

While beginners may wish to work with only one text, advanced learners can synthesize as many as three texts in one text summary. 

Since a text summary is simple in its essence, it’s a great writing exercise that can accompany you through your entire learning process.

2. Text Commentary  (Commentaire de texte)

A text commentary or commentaire de texte   is the first writing exercise where the student is asked to present an analysis of the materials at hand, not just a summary.

That said, a  commentaire  de texte  is not a reaction piece. It involves a very delicate balance of summary and opinion, the latter of which must be presented as impersonally as possible. This can be done either by using the third person (on) or the general first person plural (nous) . The singular first person (je) should never be used in a  commentaire de texte.

A commentaire de texte  should be written in three parts:

• An introduction , where the text is presented.
• An argument , where the text is analyzed.
• A conclusion , where the analysis is summarized and elevated.

Here is a handy in-depth guide to writing a successful commentaire de texte,  written for French speakers.

Unlike with the synthesis, you will not be able to address all elements of a text in a commentary. You should not summarize the text in a commentary, at least not for the sake of summarizing. Every element of the text that you speak about in your commentary must be analyzed.

To successfully analyze a text, you will need to brush up on your figurative language. Here are some great resources to get you started:

• Here’s an introduction to figurative language in French.
• This guide to figurative language  presents the different elements in useful categories.
• This guide , intended for high school students preparing for the BAC—the exam all French high school students take, which they’re required to pass to go to university—is great for seeing examples of how to integrate figurative language into your commentaries.
• Speaking of which, here’s an example of a corrected commentary from the BAC, which will help you not only include figurative language but get a head start on writing your own commentaries.

The French answer to the 5-paragraph essay is known as the  dissertation .  Like the American 5-paragraph essay, it has an introduction, body paragraphs and a conclusion. The stream of logic, however, is distinct.

There are actually two kinds of  dissertation,  each of which has its own rules.

The first form of  dissertation  is the dialectic dissertation , better known as  thèse, antithèse, synthèse . In this form, there are actually only two body paragraphs. After the introduction, a thesis is posited. Following the thesis, its opposite, the antithesis, is explored (and hopefully, debunked). The final paragraph, what we know as the conclusion, is the  synthesis , which addresses the strengths of the thesis, the strengths and weaknesses of the antithesis, and concludes with the reasons why the original thesis is correct.

For example, imagine that the question was, “Are computers useful to the development of the human brain?” You could begin with a section showing the ways in which computers are useful for the progression of our common intelligence—doing long calculations, creating in-depth models, etc.

Then you would delve into the problems that computers pose to human intelligence, citing examples of the ways in which spelling proficiency has decreased since the invention of spell check, for example. Finally, you would synthesize this information and conclude that the “pro” outweighs the “con.”

The key to success with this format is developing an outline before writing. The thesis must be established, with examples, and the antithesis must be supported as well. When all of the information has been organized in the outline, the writing can begin, supported by the tools you have learned from your mastery of the synthesis and commentary.

Here are a few tools to help you get writing:

• Here’s a great guide to writing a dialectic dissertation .
• Here’s an example of a plan for a dialectic dissertation , showing you the three parts of the essay as well as things to consider when writing a dialectic dissertation.

4. Progressive Dissertation ( Plan progressif)

The progressive dissertation is slightly less common, but no less useful, than the first form.

The progressive form basically consists of examining an idea via multiple points of view—a sort of deepening of the understanding of the notion, starting with a superficial perspective and ending with a deep and profound analysis.

If the dialectic dissertation is like a scale, weighing pros and cons of an idea, the progressive dissertation is like peeling an onion, uncovering more and more layers as you get to the deeper crux of the idea.

Concretely, this means that you will generally follow this layout:

• A first, elementary exploration of the idea.
• A second, more philosophical exploration of the idea.
• A third, more transcendent exploration of the idea.

This format for the dissertation is more commonly used for essays that are written in response to a philosophical question, for example, “What is a person?” or “What is justice?”

Let’s say the question was, “What is war?” In the first part, you would explore dictionary definitions—a basic idea of war, i.e. an armed conflict between two parties, usually nations. You could give examples that back up this definition, and you could narrow down the definition of the subject as much as needed. For example, you might want to make mention that not all conflicts are wars, or you might want to explore whether the “War on Terror” is a war.

In the second part, you would explore a more philosophical look at the topic, using a definition that you provide. You first explain how you plan to analyze the subject, and then you do so. In French, this is known as  poser une problématique  (establishing a thesis question), and it usually is done by first writing out a question and then exploring it using examples: “Is war a reflection of the base predilection of humans for violence?”

In the third part, you will take a step back and explore this question from a distance, taking the time to construct a natural conclusion and answer for the question.

This form may not be as useful in as many cases as the first type of essay, but it’s a good form to learn, particularly for those interested in philosophy. Here’s an in-depth guide  to writing a progressive dissertation.

As you progress in French and become more and more comfortable with writing, try your hand at each of these types of writing exercises, and even with other forms of the dissertation . You’ll soon be a pro at everything from a synthèse de texte to a dissertation!

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How to Write an Excellent French Essay (Resources Included)

Tips to write an excellent french essay.

Writing essays is challenging enough, but when you are asked to write a French essay, you are not only being asked to write in a foreign language, but to follow the conventions of another linguistic and literary tradition. Like essay-writing in any language, the essential part of writing a French essay is to convey your thoughts and observations on a certain topic in a clear and concise manner. French essays do come out of a certain tradition that is part of the training of all students who attend school in France – or at least secondary school – and when you are a French essay, it is important to be aware of this tradition.

The French philosopher Michel de Montaigne is credited with popularizing the essay form as a literary genre. His work, Essais, first published in 1580, and undergoing several subsequent publications before his death in 1592, covers a wide breadth of topics, ranging from “amitié” to “philosopher c’est apprendre à mourir”, and includes many literary references, as well as personal anecdotes. The name for this genre, essai, is the nominal form of the verb essayer, “to attempt”. We have an archaic English verb essay, meaning the same thing. The limerick that includes the phrase, “... when she essayed to drink lemonade ...” indicates an attempt to drink a beverage and has nothing to do with writing about it. But the writing form does illustrate an attempt to describe a topic in depth with the purpose of developing new insights on a particular text or corpus.

French instructors are very specific about what they would like when they ask for an essay, meaning that they will probably specify whether they would like an explication de texte, commentaire composé, or dissertation. That last essay form should not be confused with the document completed for a doctorate in anglophone countries – this is called a thèse in French, by the way. There are different formats for each of these types of essay, and different objectives for each written form.

Types of Essay

1. l’explication de texte.

An explication de texte is a type of essay for which you complete a close reading. It is usually written about a poem or a short passage within a larger work. This close reading will elucidate different themes and stylistic devices within the text. When you are completing an explication de texte, make sure to follow the structure of the text as you complete a close examination of its form and content. The format for an explication de texte consists of:

i. An introduction, in which you situate the text within its genre and historical context. This is where you can point out to your readers the general themes of the text, its form, the trajectory of your reading, and your approach to the text.

ii. The body, in which you develop your ideas, following the structure of the text. Make sure you know all of the meanings of the words used, especially the key terms that point to the themes addressed by the author. It is a good idea to look words up in the dictionary to find out any second, third, and fourth meanings that could add to the themes and forms you describe. Like a student taking an oral examination based on this type of essay writing, you will be expected to have solid knowledge of the vocabulary and grammatical structures that appear in the text. Often the significance of the language used unfolds as you explain the different components of theme, style, and composition.

iii. A conclusion, in which you sum up the general meaning of the text and the significance of the figures and forms being used. You should also give the implications of what is being addressed, and the relevance of these within a larger literary, historical, or philosophical context.

NB: If you are writing about a poem, include observations on the verse, rhyme schemes, and meter. It is a good idea to refer to a reference work on versification. If you are writing about a philosophical work, be familiar with philosophical references and definitions of concepts.

Caveat: Refrain from paraphrasing. Instead show through careful analysis of theme, style, and composition the way in which the main ideas of the text are conveyed.

2. Le commentaire composé

A commentaire composé is a methodologically codified commentary that focuses on themes in a particular text. This type of essay develops different areas of reflection through analytical argument. Such argumentation should clarify the reading that you are approaching by presenting components of the text from different perspectives. In contrast to the explication de texte, it is organized thematically rather than following the structure of the text to which it refers. The format for a commentaire composé consists of:

i. An introduction, in which you present the question you have come up with, often in relation to a prompt commenting on a thematic or stylistic aspect of the text, such as “Montrez en quoi ce texte évoque l’amour courtois” or “Qu’apporte l’absence de la ponctuation dans ce texte ?” In this section, you will be expected to delineate your approach to the text and illustrate the trajectory of your ideas so that your readers will have a clear idea of the direction these ideas will take.

ii. A tripartite body, in which you explore the question you have come up with, citing specific examples in the text that are especially pertinent to the areas of reflection you wish to explore. These citations should be explained and connected to the broad themes of your commentary, all the while providing details that draw the readers’ attention to your areas of inquiry. These different areas of inquiry may initially seem disparate or even contradictory, but eventually come together to form a harmonious reading that addresses different aspects of the text. The more obvious characteristics of the text should illuminate its subtler aspects, which allows for acute insight into the question that you are in the process of exploring.

iii. A conclusion, in which you evaluate your reading and synthesize its different areas of inquiry. This is where you may include your own opinions, but make sure that the preceding sections of your commentaire remain analytical and supported by evidence that you find in the text.

NB: Looking at verb tenses, figures of speech, and other aspects that contribute to the form of the text will help situate your reader, as will commenting on the register of language, whether this language is ornate, plain, reflects a style soutenu, or less formal patterns of speech.

Caveat: Quotations do not replace observations or comments on the text. Explain your quotations and situate them well within your own text.

3. La dissertation

The dissertation is a personal, organized, and methodical reflection on a precise question that refers to a corpus of writing. Referring to this corpus, you may be asked questions along the lines of “Que pensez-vous de l’équivalence entre l’amour et la chanson exprimée dans ces textes ?” or “Est-ce que la sagesse et la folie ont les mêmes sources?” This type of essay allows for an exploration of a question through knowledge of a corpus as well as through an individual’s cultural knowledge. The format for a dissertation consists of:

i. An introduction, in which you present the topic addressed, the significance of your argument, and the trajectory of your ideas.

ii. The body which, like a commentaire composé, consists of a tripartite development of your argument. This can follow any one of the following structures: a dialectical schema, organized into thèse, antithèse, and synthèse – an argument, its counter-argument, and its rebuttal; an analytical schema, consisting of the description of a situation, an analysis of its causes, and commentary on its consequences; a thematic schema, which consists of a reflection on a topic which you proceed to examine from different angles in an orderly fashion.

iii. A conclusion, in which you address the different ways in which you have approached the question at hand and how this deepens your insights, while placing the question within a broader context that shows room for expansion. The conclusion can open up the topic addressed to show its placement within a literary movement, or in opposition to another literary movement that follows it, for example.

NB: Approach the question at hand with as few preconceptions as possible. If you are writing on a quotation, gather all of your knowledge about its author, the work in which it appears, and the body of literature with which it is associated.

Caveat: Even for a personal reflection, such as a dissertation, avoid using the first person pronoun je. Nous or on are preferable. It is advisable not to switch from one to the other, though.

For each of these essay forms, it is a good idea to make an outline to which you can refer as you write. As your writing progresses, things may shift a bit, but having a structure on which you can rely as you gather your various ideas and information into a coherent argument provides solid foundation for a clear and well-developed essay. This also facilitates smooth transitions from one section of your essay to the next.

During your reading, you may encounter a problem, a contradiction, or a surprising turn of phrase that is difficult to figure out. Such moments in a text give you the opportunity to delve into the unique characteristics of the text or corpus to which you are referring, to propose different solutions to the problems you encounter, and to describe their significance within a larger literary, philosophical, and historical context. Essay writing allows you to become more familiar with French works, with their cultural significance, and with the French language. You can refer to the following resources to guide you in this endeavor:

Auffret, Serge et Hélène. Le commentaire composé. Paris: Hachette, 1991. Dufau, Micheline et Ellen D'Alelio. Découverte du poème: Introduction à l'explication de textes. New York: Harcourt, Brace & World, 1967. Grammont, Maurice. Petit traité de versification française. Paris: A. Colin, 2015. Huisman, Denis et L. R. Plazolles. L’art de la dissertation littéraire : du baccalauréat au C.A.P.E.S. Paris : Société d’édition d’enseignement supérieur, 1965.

The French newspaper Le Monde also has good articles on these essay forms that prepare French students for the baccalauréat exam: CLICK HERE

This is also a website with thorough information on essay writing techniques that prepare students for the baccalauréat exam: CLICK HERE

In addition, the University of Adelaide has tips for general essay writing in French: CLICK HERE

🇫🇷 Looking for More French Resources?

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How to Write The Perfect French Essay For Your Exam

November 16, 2014 by Jessica 3 Comments

Here are tips to help you write a great French essay with exam requirements in mind. Once you’re done, I strongly suggest you proofread your text using my checklis t.

Note: if you’re preparing for the French VCE, there is an updated version of these exam tips in my guide  “How to Prepare for the French VCE & Reach your Maximum Score” .

While supervising exams or tutoring for exam preparation, I’ve seen too many students writing straight away on their exam copies. Stop! Resist the urge to jump on your pen and take a step back to make sure that you will be addressing all the exam requirements or you may be shooting yourself in the foot and lose precious points.

I recommend that you train with exam sample questions so that you set up good working habits and respect the required length of the essay, as well as the timing (allow at least 10 minutes for proofreading).

Crafting your French Essay

1. identify the situation: preparation work.

•   Read the topic carefully, slowly and at least twice to absorb every information/detail.
• Underline/highlight/jot down any piece of information that you are expected to reuse:
• What type of text do you need to write? (a journal entry? A formal letter? A speech? Etc). Note to VCE French exam students : refer to page 13 of the VCE French Study Design for more information about the different types of texts.
• Who are you in the situation? (yourself? A journalist? etc)
• Who are you addressing? (a friend? A large audience? Etc) à adjust the degree of formality to the situation (for example by using the “tu”/”vous” form, a casual or formal tone/register, etc)
• What are the characteristic features of the type of text you need to write? (eg a journal entry will have the date, a formal letter will start and end with a formal greeting, etc)
• What is your goal ? What are you expected to talk about / present / defend / convey?
• What are the length requirements for your French essay ? Respect the word count (there’s usually a 5% or so tolerance. Check the requirements specific to your exam)

Tip : when you practice at home, count how many words in average you fit on a line. This will give you a good indication of how many lines your text should be.

Ex: You write an average of 15 words per line. If you are required to write a 300-word French essay, you should aim for:

300 words / 15 words per line = 20 lines total.

2. Draft the outline of your essay

•  An essay typically has an introduction, a body with 2 or 3 distinct parts and a conclusion . (See if that outline is relevant to the type of text you are expected to write and adjust accordingly.)
• Use bullet points to organize your ideas.
• Don’t remain too general. A good rule is to use one main idea for each part and to back it up/reinforce in/illustrate it with one concrete example (eg. data).
• Brainstorming about things to say will also help you use a wider range of vocabulary , which will get noticed by the examiner. Are there some interesting/specific words or expressions that you can think of using in your text (example: if you are writing about global warming, brainstorm the vocab related to this topic. Brainstorm expressions to convince or disagree with something, etc)?
• Make sure you have reused every point identified in part 1 .

 3. Write your essay

•  It’s better if you have time to write or at least draft a few sentences on your draft paper rather than writing directly because:
• You want to meet the word count requirements
• You don’t want multiple words to be barred cross crossed-out and your page looking messy and great anything but neat!
• you don’t want to have to rush so much that your handwriting is really unpleasant to read (or worse, impossible to read…)
• So… monitor your time carefully!

  Structuring your text

• Visually, the eye should instantly be able to see the structure of your French essay: make paragraph and skip lines so that it doesn’t look like an unappealing large block of text.
• Use connectors/link words to structure your text and make good transitions.

4. Proofread, proofread, proofread!

•   It’s important that you allow at least 10 minutes for proofreading because there most likely are a few mistakes that you can fix very easily. It would therefore be a shame not to give yourself your best chances of success! Check out my Proofreading Checklist.

Bonne chance!

If you need any help with your essay, you can submit it to me there.

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Write Better

These pages explain how to write certain kinds of essays in French, as well as how some ways that professors grade writing assignments.

Writing college French essays , by Alison Levine.

How to write an essay for an upper-level French literature, culture, or film class.

Writing college response/reaction papers , by Cheryl Krueger.

How to write a response paper or reaction paper at the advanced undergraduate or graduate level.

Writing business letters in French , by Alison Levine.

How to lay out and formulate job application letters, requests for information, and other professional correspondence.

How professors grade upper-level French essays , by Alison Levine.

Descriptions of what makes an A paper, a B paper, etc. for the argumentative essay in French at UVA.

How professors grade intermediate French essays , by Alison Levine.

Descriptions of an A, B, paper, etc. for the intermediate level at UVA.

How to improve your grammar , by Alison Levine.

In this carnet de corrections , you can keep track of the grammar errors you make and how to correct them, as your professor goes over your work through the semester. A useful tool to help you avoid repeating errors.

Erreurs à éviter , by Mary McKinley.

A short list of common errors at the intermediate level. We are working on a more advanced list.

Handouts on French essay writing, explanations of how many instructors grade writing

Build Vocabulary

Theme-specific vocabulary (beginners); poetry, prose, theater, cinema terms (intermediates)

Grammar videos

Video grammar lessons and handouts, to prepare for the exercises.

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The First Day of School

I guess I’ve never done a post that outlines what I do on the first day of school, so here it is.  I’ve gotten my ideas from a variety of resources, so I will try to give credit where credit is due.  First of all, I will say I got a lot of my ideas from this wonderful post from Creative Language Class, but I put my own spin on it.

I like students to walk away on the first day not only excited about the year ahead, but actually able to say a few words in the language they signed up for.  By the end of this lesson, students will have learned the following words and expressions:  Bonjour, Je m’appelle, Comment t’appelles-tu ?, and Au revoir !  Of course they will hear many other words and expressions along the way, but the aforementioned are the ones I am targeting.

I use a Prezi (see full Prezi at the bottom), and once class begins, I zoom in on this slide and announce my name to the class.  Students shout out what they think it means.

Then I zoom into this slide (which I stole directly from Creative Language Class!), but I don’t say it out loud because I am speaking all in French.

Next, it’s time for attendance.  I say “Ici,” and point to the floor, as in, right here, and then “Absent,” and put my hands in the air like I don’t know.

I then show this quick video to demo what attendance should look like.  It’s a mashup of YakIt Kids (which sadly, is no longer available) and the animoji feature that you can get on newer iPhone models.  Then I take attendance, and each student says, “Ici !”

Then I share a little about myself.  I show a photo of myself when I was a student at their school, a photo of me in Paris, a photo of my cat, a photo of my riding a horse, and a photo I took in Paris since I love to take photos.  I describe all these photos to students in French.

Then I ask the class, “Permission de parler anglais ?,” which is a trick I got from my colleague Lisa.  By asking permission before speaking English, it reinforces how important it is to speak French as much as possible.  At this time I break into English.  Some may not agree with this, but I like to talk to them a little bit about what to expect and congratulate them on working through the first part of class entirely in French.  I share some of the topics we will be learning about, some of the different ways we learn, and I also tell them about French Club.

Then we go back into French for the rest of the lesson.  I get them to say what they think “Comment t’appelles-tu” means, and when they’ve figured it out, everyone makes a name tag.

Each student gets half a sheet of card stock which they are instructed (in French, of course!) to fold the long way (“like a hot dog”), then write “Je m’appelle” and their first and last name on one side, nice and large.  While this is happening, I usually play some French music for them.  Later on, when they pick their French names, they will write the same thing on the other side, but replace their first name with their French name, assuming it’s different.  Students are asked to keep their name tags in their binders and put them on their desks at the beginning of each class until I’ve learned all their names AND French names.  Eventually I let them know they don’t need to use them anymore and they can recycle them.

Next it’s time to introduce themselves.  I show them this video to model how I’d like them to introduce themselves.  Then I model with a couple of students.  Then I ask them to introduce themselves to the people they are sitting next to before getting up and introducing themselves to other classmates in French.

If time permits, I will have students complete a survey/interest inventory for me as well.  This is done in English, since students obviously would not know how to answer questions like “What’s one thing I should know about you?” in French.  Then it’s time to say good-bye!

Here you can get a look at the whole Prezi.  I have been doing some version of this lesson for a number of years, and I like that it gets them excited about class and also speaking some French.  Going over rules and procedures is left for later on, once everyone has settled in.

What do you do on the first day of school?

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What We Know About Kamala Harris’s $5 Trillion Tax Plan So Far

The vice president supports the tax increases proposed by the Biden White House, according to her campaign.

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Resources for academic writing in French

On this page.

• 1. Purpose of this document
• 2. Orthographe et typographie
• 3. Grammaire

4. Structure de texte: vocabulaire

• 5. Comment construire une dissertation en français?
• 6. Outil utile : comment faire les caractères français sur n'importe quel clavier ?
• 7. Où trouver de l'aide en français ?
• 8. S'immerger d'avantage dans le français

1. Purpose of this document

This document offers resources to students writing in French at the undergraduate and postgraduate levels. It has been inspired by the recurring questions and issues encountered during consultations with students and it includes:

• Grammatical and vocabulary help
• Advice on dissertation structure and dissertation writing
• A useful tip on how to easily type special French characters on any keyboard
• Suggestions as to where students can find additional help
• Ideas on where to meet French speakers and how to get exposed to the language to improve fluency

Note: The information presented is valid as of December 2016. The rest of this information is written in French since it is intended for people with at least a basic understanding of the language.

This material is also available as a printable  pdf  and as a stand-alone website  .

2. Orthographe et typographie

2.1.1 majuscules.

2.1.1.1 Noms et adjectifs de nationalité

En anglais, les noms et adjectifs se rapportant aux langues et aux pays prennent toujours des majuscules :

I am French I speak French The French are always on strike

Ce n'est pas le cas en français.

Les adjectifs ne prennent jamais de majuscule en français. Donc: adjectifs de nationalité ou se rapportant aux langues → pas de majuscule

Je suis française La langue française

Pour les noms, il ne faut pas de majuscule lorsque l'on parle des langues. Les langues → pas de majuscule

Je parle français Le français et l'anglais

Ceci dit, lorsque l'on parle de personnes, il faut la majuscule. Les habitants d'un pays → majuscule

Les Français sont tout le temps en grève

2.1.1.2 Jours de la semaine et mois

En anglais, les jours de la semaine et les mois prennent des majuscules. Mais pas en français :

Le lundi et le mardi Le jeudi 3 mars ​Tous les dimanches de novembre

2.1.2 Ponctuation

Contrairement à l'anglais, il faut un espace avant les deux points, le point d'interrogation et le point d'exclamation :

Tu viens ? Ah non !

Les guillemets sont différents et il faut un espace entre les guillemets et le texte :

Il lui dit : « d'accord »

Note : un éditeur de texte (par exemple MS Word ou OpenOffice Writer) corrigera tout cela automatiquement si vous le mettez en français.

2.1.3 « et » et la virgule

L'usage d'une virgule avec « et » est différent en français et en anglais :

En anglais, il faut une virgule avant « and » dans une énumération qui comprend plus de deux éléments : French, English, and Spanish

En français, il n'y a pas de virgule avant « et » : Le français, l'anglais et l'espagnol

Mettre un mot au féminin peut aider à trouver sa terminaison :

chat  →  chatte ouvert →  ouverte ​remis  →  remise

3. Grammaire

3.1.1 définition.

Voix active : le sujet fait l'action

Voix passive : le sujet subit l'action et le complément d'agent (introduit par « par ») fait l'action

Le complément d'agent fait l'action (voix active) :  Notre équipe a réalisé une étude

L'action est faite PAR le complément d'agent (voix passive) :  Une étude a été réalisée PAR notre équipe

3.1.2 Formation

La voix passive se construit avec  l'auxilaire être + le participe passé du verbe .

Attention donc à ne pas confondre un temps simple à la voix passive avec un temps composé.

Par exemple, il ne faut pas confondre un verbe au présent de la voix passive avec un passé composé :

Le lapin est mangé par le loup (Présent de la voix passive. Cela équivaut à : le loup mange le lapin - maintenant)

Le lapin a mangé la salade (Passé composé de la voix active. Le lapin a mangé la salade hier)

3.1.3 Écrivez à l'actif !

Pendant longtemps, il a été d'usage d'utiliser la voix passive dans les travaux académiques, probablement par modestie. Cette habitude est tombée en désuétude, mais malheureusement les étudiants continuent trop souvent à écrire au passif, rendant les textes tortueux et le style inutilement lourd. Je vous encourage vivement à utiliser la voix active :

• la construction est beaucoup plus directe
• il est maintenant d'usage d'annoncer clairement et sans détour que nous sommes l'auteur d'un travail

3.2.1 Les adjectifs

Les adjectifs s'accordent en genre et en nombre avec le nom auquel ils se rapportent

3.2.2 Les participes passés

• Avec l'auxiliaire être Les participes passés s'accordent en genre et en nombre avec le sujet
• Avec l'auxiliaire avoir Les participes passés s'accordent en genre et en nombre avec le complément d'objet direct, si celui-ci est placé avant le verbe​
• Sinon, ils sont  invariables En aucun cas, ils ne s'accordent avec le sujet

Pas de panique, c'est en fait simple :

Auxiliaire être

Il est tombé Ils sont tombés ​Elles sont tombées

Auxiliaire avoir - COD  après  le verbe

Il a pris un verre Il a pris une pomme Il a pris des pommes

Auxiliaire avoir - COD  avant  le verbe

Il l'a pris (=le verre) Il l'a prise (=la pomme) Il les a prises (=les pommes)

[[ collapse start " 3.3 « Nous » et « on » "]]

« On », techniquement, est un équivalent de l'anglais « it »

On dit souvent que...

Mais dans le langage courant, il est utilisé à la place de « nous »

On y va (=nous y allons) On arrive ! (=nous arrivons !)

Ceci est cependant à éviter à l'écrit, à moins que l'on veuille donner au texte une connotation familière.

3.4.1 Forme

3.4.1.1 Définis

le chat/les chats the cat/the cats

3.4.1.2 Indéfinis

un chat/des chats a cat/cats

3.4.2 Usage

3.4.2.1 Définis

On sait exactement de quel individu/chose il s'agit. On pourrait le montrer du doigt. Le nom est défini

Le chat de mon voisin (Ceci suppose que mon voisin n'a qu'un chat et que, du coup, on sait exactement de quel chat il s'agit)

La Terre est ronde (Il n'y en a qu'une, donc on sait de laquelle il s'agit)

La lune (On suppose qu'il s'agit de notre lune, celle qui tourne autour de la terre, et que donc on sait de laquelle il s'agit)

3.4.2.2 Indéfinis

On ne sait pas de quel individu/chose il s'agit. Le nom est indéfini

J'ai vu un chat noir ce matin (On ne sait pas de quel chat noir il s'agit. L'information "noir" ne suffit pas à définir l'individu particulier dont il est question)

Un chat de mon voisin (Ici, cela suppose que mon voisin a plusieurs chats et du coup, on ne sait pas de quel individu il est question. Comparer ceci avec l'exemple précédant)

Une lune (Ici, on fait référence à un satellite naturel, par exemple une lune de Saturne. On ne sait donc pas de quelle lune il s'agit)

C'est en fait très similaire à l'anglais. Réfléchissez à ce que vous diriez en anglais

• Invariables
• Généralement formés à partir d'adjectifs + « ment »

grand  → grandement

4.1.1 Commencer

Premièrement D’abord Tout d'abord Au début Pour commencer

4.1.2 Continuer

Chronologiquement : 

Deuxièmement ​Ensuite Puis Après

En ajoutant : 

De plus ​Ajoutons que En outre Par ailleurs ​Aussi Egalement

4.1.3 Finir

Enfin ​Finalement Pour finir Pour terminer Pour conclure En conclusion

4.2.1 Similarités

De la même manière De la même façon ​Similairement

4.2.2 Différences

En revanche Au contraire ​Alors que ​Pourtant D'autre part ​D'un autre côté Par ailleurs

Du coup En conséquence Par conséquent Il en résulte que De ce fait Donc Ainsi C'est pourquoi

5. Comment construire une dissertation en français?

Veuillez noter que ceci ne représente que mon opinion personnelle. Les consignes que vous recevez de vos professeurs sont sans aucun doute plus importantes que les conseils que je présente ici. Si vous avez des doutes, la meilleure chose à faire est toujours de discuter avec le professeur afin d'éliminer toute confusion quant à ses attentes. Il se peut que votre professeur ait une vision différente de la mienne sur la structure d'une dissertation. Il n'y a, de toute façon, aucune règle absolue et ceci ne représente qu'une façon, parmi beaucoup d'autres, de construire un plan.

Ne vous embarquez pas dans l'écriture avant d'avoir un plan! Si vous vous lancez dans l'écriture en aveugle, vous allez perdre énormément de temps à rédiger des choses qui ne fonctionneront probablement pas et que vous devrez réécrire. Assurez vous d'avoir un plan solide avant de commencer à rédiger des phrases. Pour construire ce squelette, des tirets avec vos idées suffisent.

Pour structurer votre plan, imaginez un sablier :

L'introduction , en bleu dans le sablier, commence large et se réduit petit à petit.

Elle peut se construire en trois sous-parties :

• Une introduction du thème qui se veut très ouverte. Vous voulez intéresser un public large. Si vous commencez directement sur le sujet étroit et spécifique de votre dissertation, peu de gens n'auront envie de la lire vu que peu de gens ont un intérêt pour un sujet très pointu.
• Dans une deuxième sous-partie, vous emmenez le lecteur peu à peu vers le sujet de votre dissertation. La problématique se resserre.
• Finalement, dans une troisième partie, vous présentez votre plan. Après avoir lu cette sous-partie, le lecteur doit savoir ce qui l'attend.

Le corps de votre dissertation , en orange dans le sablier, reste ciblé sur votre sujet.

Il comporte deux à quatre parties (souvent trois). C'est là que vous présentez votre analyse. Chaque partie représentant un aspect ou un point différent.

La conclusion , en vert dans le sablier, commence étroite et s'élargit peu à peu.

Vous ne voulez pas laisser le lecteur avec cette vue très pointue d'un sujet. Vous voulez élargir vers une problématique plus large. Là aussi, trois sous-parties est assez classique :

• Une première sous-partie qui conclut votre dissertation,
• Un élargissement de la problématique,
• Une troisième sous-partie peut comporter des questions laissées ouvertes.

Vous avez votre plan et vous en êtes content. Maintenant, il est temps de commencer à rédiger… mais dans quel ordre ? La question peut vous surprendre vu que la plupart des gens commencent… par l'introduction. Erreur ! L'introduction est probablement la partie la plus difficile à écrire. Il est beaucoup plus facile de commencer par le corps de la dissertation car c'est vraiment votre sujet. A partir de là, vous pourrez assez facilement écrire la conclusion. Et finalement, à la fin, après avoir passé tout ce temps avec votre dissertation, vous serez en bien meilleure position pour attaquer cette fameuse introduction qui est si difficile.

Séparez les grandes parties (introduction, corps de la dissertation et conclusion) en sautant une ligne. Les différentes parties du corps central de votre dissertation peuvent aussi être séparées par une ligne blanche.   Chaque partie et sous-partie commence typiquement par un alinéa (« indent » en anglais). De cette façon, le lecteur peut, avant même de commencer à lire, voir la structure de votre dissertation.

Les deux à quatre parties du corps de votre dissertation doivent être équilibrées : vous ne voulez pas avoir une partie de plusieurs pages et une autre de quelques lignes. Si tel est le cas, essayez de structurer vos idées différemment en fusionnant certaines parties entre elles ou en revisitant votre plan.

Il est classique de lier les différentes parties ou sous-parties les unes avec les autres grâce à des phrases de transition qui mettent en évidence la cohésion logique de l'ensemble. Vous ne voulez pas que votre essai ressemble à une juxtaposition d'idées sans rapport les unes avec les autres.

En français, comme en anglais, il est important de citer vos sources. Le site de la bibliothèque de SFU a de nombreuses ressources sur le format à suivre : Citation guide: APA .

6. Outil utile : comment faire les caractères français sur n'importe quel clavier ?

La méthode la plus simple est d'utiliser le clavier international américain. Je n'explique pas ici comment l'activer car cela dépend de votre système d'exploitation (OS), mais les instructions sont très simples et disponibles partout sur internet. Une fois activé, le clavier international transforme :

7. Où trouver de l'aide en français ?

Le Student Learning Commons  (SLC) offre depuis l'année dernière deux services pour les étudiants écrivant en français :

• des consultations particulières hebdomadaires
• des ateliers

7.1.1 Consultations particulières

Des consultations particulières hebdomadaires sont disponibles. Prenez rendez-vous sur le site du Student Learning Commons : Academic writing resources . 

7.1.2 Ateliers

Des ateliers d'écriture en français sont organisés régulièrement. Regardez le programme sur le site du Student Learning Commons: Writing workshops .

Si vous avez des suggestions de nouveaux ateliers d'écriture en français qui vous seraient utiles, n'hésitez pas à nous en faire part en écrivant à l'adresse mail [email protected] 

7.2.1 Dictionnaires

7.2.1.1 Français

• Du  Centre National de Ressources Textuelles et Lexicales , le meilleur dictionnaire de français en ligne ! Une ressource vraiment excellente.

7.2.1.2 Français/anglais

• WordReference.com

7.2.2 Conjugaison

• Le Conjugueur  : un bon site de conjugaison 

7.2.3 Plagiat

Toutes les règles que vous avez apprises sur le plagiat dans vos travaux en anglais s'appliquent également en français. Le plagiat est un sujet sérieux que SFU traite avec beaucoup d'attention et si vous n'êtes pas sûrs des règles, je vous encourage vivement à vous familiariser avec elles en lisant les sites suivants. Pour SFU, l'ignorance n'est pas une excuse….

• Voir également: Plagiarism tutorial (SFU Library, anglais)
• Academic honesty

8. S'immerger d'avantage dans le français

8.1.1 meetup français.

• Vancouver French Langage Meetup

8.1.2 Le Centre Culturel Francophone de Vancouver

• Le Centre Culturel Francophone de Vancouver  

8.1.3 App

8.2.1 histoire et culture.

• Radio Canada : Aujourd'hui l'histoire
• France Culture : Les nuits de France Culture

8.2.2 Infos (« Informations » en France ou « Nouvelles » au Canada)

• France Inter : Le journal de 18h
• Radio Canada : Midi info  

8.2.3 Sciences et technologie

• France Culture : La marche des sciences
• Radio Canada : Les années lumières

8.3.1 Théâtre en français

Théâtre la Seizième

8.3.2 Internet

Nombreuses options pour voir des films, apprendre de nouveaux mots, améliorer sa prononciation, apprendre à conjuguer…

8.3.3 Films

De nombreux films français sont disponibles gratuitement dans les bibliothèques publiques et de SFU :

• SFU Library movie collection . See  How do I find books written in French, Chinese, and other languages? for help narrowing your search to French-language materials.
• Vancouver Public Library
• Burnaby Public Library

This guide was created by Marie-Hélène Burle, December 2016.

To revisit this article, visit My Profile, then View saved stories .

As a Teenager in Europe, I Went to Nudist Beaches All the Time. 30 Years Later, Would the Experience Be the Same?

In July 2017, I wrote an article about toplessness for Vogue Italia. The director, actor, and political activist Lina Esco had emerged from the world of show business to question public nudity laws in the United States with 2014’s Free the Nipple . Her film took on a life of its own and, thanks to the endorsement from the likes of Miley Cyrus, Cara Delevingne, and Willow Smith, eventually developed into a whole political movement, particularly on social media where the hashtag #FreeTheNipple spread at lightning speed. The same year as that piece, actor Alyssa Milano tweeted “me too” and encouraged others who had been sexually assaulted to do the same, building on the movement activist Tarana Burke had created more than a decade earlier. The rest is history.

In that Vogue article, I chatted with designer Alessandro Michele about a shared memory of our favorite topless beaches of our youth. Anywhere in Italy where water appeared—be it the hard-partying Riviera Romagnola, the traditionally chic Amalfi coast and Sorrento peninsula, the vertiginous cliffs and inlets of Italy’s continuation of the French Côte d’Azur or the towering volcanic rocks of Sicily’s mythological Riviera dei Ciclopi—one was bound to find bodies of all shapes and forms, naturally topless.

In the ’90s, growing up in Italy, naked breasts were everywhere and nobody thought anything about it. “When we look at our childhood photos we recognize those imperfect breasts and those bodies, each with their own story. I think of the ‘un-beauty’ of that time and feel it is actually the ultimate beauty,” Michele told me.

Indeed, I felt the same way. My relationship with toplessness was part of a very democratic cultural status quo. If every woman on the beaches of the Mediterranean—from the sexy girls tanning on the shoreline to the grandmothers eating spaghetti al pomodoro out of Tupperware containers under sun umbrellas—bore equally naked body parts, then somehow we were all on the same team. No hierarchies were established. In general, there was very little naked breast censorship. Free nipples appeared on magazine covers at newsstands, whether tabloids or art and fashion magazines. Breasts were so naturally part of the national conversation and aesthetic that Ilona Staller (also known as Cicciolina) and Moana Pozzi, two porn stars, cofounded a political party called the Love Party. I have a clear memory of my neighbor hanging their party’s banner out his window, featuring a topless Cicciolina winking.

A lot has changed since those days, but also since that initial 2017 piece. There’s been a feminist revolution, a transformation of women’s fashion and gender politics, the absurd overturning of Harvey Weinstein’s 2020 rape conviction in New York, the intensely disturbing overturning of Roe v Wade and the current political battle over reproductive rights radiating from America and far beyond. One way or another, the female body is very much the site of political battles as much as it is of style and fashion tastes. And maybe for this reason naked breasts seem to populate runways and street style a lot more than they do beaches—it’s likely that being naked at a dinner party leaves more of a permanent mark than being naked on a glamorous shore. Naked “dressing” seems to be much more popular than naked “being.” It’s no coincidence that this year Saint Laurent, Chloé, Ferragamo, Tom Ford, Gucci, Ludovic de Saint Sernin, and Valentino all paid homage to sheer dressing in their collections, with lacy dresses, see-through tops, sheer silk hosiery fabric, and close-fitting silk dresses. The majority of Anthony Vaccarello’s fall 2024 collection was mostly transparent. And even off the runway, guests at the Saint Laurent show matched the mood. Olivia Wilde appeared in a stunning see-through dark bodysuit, Georgia May Jagger wore a sheer black halter top, Ebony Riley wore a breathtaking V-neck, and Elsa Hosk went for translucent polka dots.

In some strange way, it feels as if the trends of the ’90s have swapped seats with those of today. When, in 1993, a 19-year-old Kate Moss wore her (now iconic) transparent, bronze-hued Liza Bruce lamé slip dress to Elite Model Agency’s Look of the Year Awards in London, I remember seeing her picture everywhere and feeling in awe of her daring and grace. I loved her simple sexy style, with her otherworldly smile, the hair tied back in a bun. That very slip has remained in the collective unconscious for decades, populating thousands of internet pages, but in remembering that night Moss admitted that the nude look was totally unintentional: “I had no idea why everyone was so excited—in the darkness of Corinne [Day’s] Soho flat, the dress was not see-through!” That’s to say that nude dressing was usually mostly casual and not intellectualized in the context of a larger movement.

But today nudity feels loaded in different ways. In April, actor and author Julia Fox appeared in Los Angeles in a flesh-colored bra that featured hairy hyper-realist prints of breasts and nipples, and matching panties with a print of a sewn-up vagina and the words “closed” on it, as a form of feminist performance art. Breasts , an exhibition curated by Carolina Pasti, recently opened as part of the 60th Venice Biennale at Palazzo Franchetti and showcases works that span from painting and sculpture to photography and film, reflecting on themes of motherhood, empowerment, sexuality, body image, and illness. The show features work by Cindy Sherman, Robert Mapplethorpe, Louise Bourgeois, and an incredible painting by Bernardino Del Signoraccio of Madonna dell’Umiltà, circa 1460-1540. “It was fundamental for me to include a Madonna Lactans from a historical perspective. In this intimate representation, the Virgin reveals one breast while nurturing the child, the organic gesture emphasizing the profound bond between mother and child,” Pasti said when we spoke.

Through her portrayal of breasts, she delves into the delicate balance of strength and vulnerability within the female form. I spoke to Pasti about my recent musings on naked breasts, which she shared in a deep way. I asked her whether she too noticed a disparity between nudity on beaches as opposed to the one on streets and runways, and she agreed. Her main concern today is around censorship. To Pasti, social media is still far too rigid around breast exposure and she plans to discuss this issue through a podcast that she will be launching in September, together with other topics such as motherhood, breastfeeding, sexuality, and breast cancer awareness.

With summer at the door, it was my turn to see just how much of the new reread on transparency would apply to beach life. In the last few years, I noticed those beaches Michele and I reminisced about have grown more conservative and, despite being the daughter of unrepentant nudists and having a long track record of militant topless bathing, I myself have felt a bit more shy lately. Perhaps a woman in her 40s with two children is simply less prone to taking her top off, but my memories of youth are populated by visions of bare-chested mothers surveilling the coasts and shouting after their kids in the water. So when did we stop? And why? When did Michele’s era of “un-beauty” end?

In order to get back in touch with my own naked breasts I decided to revisit the nudist beaches of my youth to see what had changed. On a warm day in May, I researched some local topless beaches around Rome and asked a friend to come with me. Two moms, plus our four children, two girls and two boys of the same ages. “Let’s make an experiment of this and see what happens,” I proposed.

The kids all yawned, but my friend was up for it. These days to go topless, especially on urban beaches, you must visit properties that have an unspoken nudist tradition. One of these in Rome is the natural reserve beach at Capocotta, south of Ostia, but I felt a bit unsure revisiting those sands. In my memory, the Roman nudist beaches often equated to encounters with promiscuous strangers behind the dunes. I didn’t want to expose the kids, so, being that I am now a wise adult, I went ahead and picked a compromise. I found a nude-friendly beach on the banks of the Farfa River, in the rolling Sabina hills.

We piled into my friend’s car and drove out. The kids were all whining about the experiment. “We don’t want to see naked mums!” they complained. “Can’t you just lie and say you went to a nudist beach?”

We parked the car and walked across the medieval fairy-tale woods until we reached the path that ran along the river. All around us were huge trees and gigantic leaves. It had rained a lot recently and the vegetation had grown incredibly. We walked past the remains of a Roman road. The colors all around were bright green, the sky almost fluorescent blue. The kids got sidetracked by the presence of frogs. According to the indications, the beach was about a mile up the river. Halfway down the path, we bumped into a couple of young guys in fanny packs. I scanned them for signs of quintessential nudist attitude, but realized I actually had no idea what that was. I asked if we were headed in the right direction to go to “the beach”. They nodded and gave us a sly smile, which I immediately interpreted as a judgment about us as mothers, and more generally about our age, but I was ready to vindicate bare breasts against ageism.

We reached a small pebbled beach, secluded and bordered by a huge trunk that separated it from the path. A group of girls was there, sharing headphones and listening to music. To my dismay they were all wearing the tops and bottoms of their bikinis. One of them was in a full-piece bathing suit and shorts. “See, they are all wearing bathing suits. Please don’t be the weird mums who don’t.”

At this point, it was a matter of principle. My friend and I decided to take our bathing suits off completely, if only for a moment, and jumped into the river. The boys stayed on the beach with full clothes and shoes on, horrified. The girls went in behind us with their bathing suits. “Are you happy now? my son asked. “Did you prove your point?”

I didn’t really know what my point actually was. I think a part of me wanted to feel entitled to those long-gone decades of naturalism. Whether this was an instinct, or as Pasti said, “an act that was simply tied to the individual freedom of each woman”, it was hard to tell. At this point in history, the two things didn’t seem to cancel each other out—in fact, the opposite. Taking off a bathing suit, at least for my generation who never had to fight for it, had unexpectedly turned into a radical move and maybe I wanted to be part of the new discourse. Also, the chances of me going out in a fully sheer top were slim these days, but on the beach it was different. I would always fight for an authentic topless experience.

After our picnic on the river, we left determined to make our way—and without children—to the beaches of Capocotta. In truth, no part of me actually felt very subversive doing something I had been doing my whole life, but it still felt good. Once a free breast, always a free breast.

This article was originally published on British Vogue .

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As the mom to a neurodivergent child, seeing Gus Walz in the spotlight gives me courage

For years, I’ve been fighting for my 8-year-old son, who is neurodiverse, to be included — in classrooms, playgrounds, birthday parties and beyond. That’s why the appearance and inclusion of Democratic vice presidential nominee Tim Walz’s neurodiverse son in last week’s Democratic National Convention struck me as a watershed moment in disability culture in America. 

To be clear, my son does not have the same diagnoses as Gus Walz . The Walz family reports that Gus has a nonverbal learning disorder, ADHD and anxiety . My son, John, has autism spectrum disorder (level 3, severe) , ADHD, and is nonverbal.

Nonverbal learning disorder (NVLD) affects an individual’s spatial-visual processing, not their ability to speak or read. Individuals with NVLD may struggle with motor coordination and social skills. Nonverbal autism is a condition that, in my son’s case, means he can only verbalize a handful of words. It also means that he struggles with other forms of communication including using his AAC (augmentative and alternative communication) device — an electronic tablet with a library of words that he can use to write sentences. We spend hours every week trying to add words to his vocabulary. It is painstaking, but we can’t give up. My son’s condition also means that he struggles to understand social norms, socialize with his peers, and look out for his own safety.

John could not have done what Gus Walz did at the DNC. It is beyond his capabilities to tolerate hours of speeches in an arena of thousands of cheering people and then stand up to call out “That’s my dad!” with joyful pride. I don’t know if John will ever be able to develop capabilities to navigate life with the level of functionality that Gus Walz displays. That’s not what’s important to me. What’s important is that Gus is neurodivergent , and his family didn’t try to hide it. In fact, they proudly featured him front and center.

When we first enrolled in our local school district and notified them of John’s diagnosis, he was immediately routed out of the general education track into a class for children with varying levels of disability. This meant not going to the school two blocks from our house, but another one five miles away — which also meant an hourlong commute during Los Angeles rush-hour traffic. 

From kindergarten on, we entered school through a side gate around the corner from the main entrance, out of view of the neurotypical children and their parents. Sure, the side door was closer to their classroom, but sometimes I felt like it was intentional that we were out of view: I saw children screaming and sobbing at drop-off, sometimes throwing themselves on the ground and yelling “No!” — possibly the only word they could vocalize — as their parents walked away in tears, likely devastated but without options.

John was always among the highest functioning in the class. Somehow, through a countless stream of new aides and specialists and therapists, he learned to write his name, the alphabet, and his numbers to 100. He’s always loved attending school.

Still, it was hard to pull out of our driveway every morning while streams of children and their parents bounced happily along the sidewalk to the public elementary school down the street. We drove past the school he would have attended if he was “typically abled” every day and watched kids and parents congregate outside, laughing and hugging, carrying science projects and poster boards for presentations and cupcakes for class birthday parties. My heart ached with every commute.

Ahead of this current school year, I was told John would move to a classroom directly next door to his current one. I went to visit, but that’s when it clicked: He needed to get out of a segregated classroom. He needed to be part of the world, with everyone else. 

Getting him into our neighborhood school was one of the hardest things I’ve ever done. I brought years of documentation from his previous school, a lawyer, an advocate (a friend with her own disabled child), and the sheer, fierce will of a Mama Bear. I fought for hours in an IEP meeting — arguing, then demanding, then straight up begging for his acceptance. The district finally relented, I think more out of exhaustion than anything else, and we were granted “inclusion” at his home school.

We’ve been attending for two weeks and under no circumstances has it been easy. It is John’s first time ever in general education. He can’t do the level of work that his peers can do. He’s never had the opportunity. I walk him to school, then I work and stare at my phone, waiting for a call from the school saying that John is too disruptive, that his unusual noises are too loud, and that he’s just too much for everyone to let him be part of his community. Even with a legal document that says he has the right to attend, my chest is always tight with the fear that he’ll face resentment from teachers, staff or other parents who think he is pulling too much focus away from their own kids. 

And yet, this is how inclusion is happening for us — not on a globally televised event, arm in arm, in front of an audience of millions cheering us on. For us, inclusion means taking that triumphant two-block walk to school every morning and hanging on to hope for dear life that those around him will be kind, patient, understanding and accepting.

The prevalence of autism is now estimated at 1 in 36 children , with up to 30% of those children considered to be “severely” or “profoundly” autistic like my son, John. As hard as things are for him now, this is as easy as they will get. When John is 21 years old, he will age out of eligibility for the extensive support services he currently receives, as will his profoundly autistic peers. We have just over a decade to prepare for a flood of adults with significant disabilities to fall off what neurodivergent families call the “services cliff.”  Families of disabled neurodiverse adults may go from networks of support to absolutely zero help overnight.

And of course, we live every day with the scariest truth of all. Barring some sort of obscene tragedy, John will outlive both his father and me. He has no siblings, no cousins his own age, no network of support. He will be on his own and at the mercy of caregivers who will never love him the way we do. I fight for inclusion because John needs it to survive. He will need to know how to access neurotypical spaces, how to interact with neurotypical people, and how to cope with a world that was not built with people like him in mind.

I fight for inclusion because John needs it to survive. He will need to know how to access neurotypical spaces, how to interact with neurotypical people, and how to cope with a world that was not built with people like him in mind.

Gus Walz’s appearance at the DNC may not directly impact the daily fight for inclusion that my family faces, but it nudges open a door. It gives me courage. It reminds me that there are other people in the world who believe children like my son have value. It gives me hope that the world is becoming more accepting of people like him. I’ll take every scrap of hope I can get.

Two days ago, when I opened John’s backpack, there was an invitation to a classmate’s birthday party inside — the first one John has been invited to in 5 years. I cried just two or three tears and told myself that I’m doing the right thing for him. I don’t know if the parent even knows there’s a profoundly autistic child in the class. She just sent home invitations for everybody — including us, and that’s what matters.

Liz Brown is a writer and mother living in Los Angeles. You can see more of her work here and follow her on Twitter here .

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A high-powered CEO puts her career and family on the line when she begins a torrid affair with her much younger intern. A high-powered CEO puts her career and family on the line when she begins a torrid affair with her much younger intern. A high-powered CEO puts her career and family on the line when she begins a torrid affair with her much younger intern.

• Halina Reijn
• Nicole Kidman
• Harris Dickinson
• Antonio Banderas
• 1 nomination

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• December 25, 2024 (United States)
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• Runtime 1 hour 54 minutes

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