essay for experience

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

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

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

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

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

Write About Tension and Conflict

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Step 2: Brainstorm and Build

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Step 4: Revise, Revise, Revise

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

FAQs on How to Write About Experience

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

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

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

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

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

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

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

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How to Write a Personal Essay for Your College Application

What does it take to land in the “accept” (instead of “reject”) pile?

How can you write an essay that helps advance you in the eyes of the admissions officers and makes a real impression? Here are some tips to get you started.

• Start early.  Do not leave it until the last minute. Give yourself time when you don’t have other homework or extracurriculars hanging over your head to work on the essay.
• Keep the focus narrow.  Your essay does not have to cover a massive, earth-shattering event. Some people in their teens haven’t experienced a major life event. Some people have. Either way, it’s okay.
• Be yourself.  Whether writing about a painful experience or a more simple experience, use the narrative to be vulnerable and honest about who you are. Use words you would normally use. Trust your voice and the fact that your story is interesting enough in that no one else has lived it.
• Be creative.  “Show, don’t tell,” and that applies here — to an extent. The best essays typically do both. You can help your reader see and feel what you are describing by using some figurative language throughout your piece.
• Make a point. As you finish your final body paragraphs ask yourself “So what?” This will help you hone in on how to end your essay in a way that elevates it into a story about an insight or discovery you made about yourself, rather than just being about an experience you had.

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We’ve all heard about the dreaded “college essay,” the bane of every high school senior’s existence. This daunting element of the college application is something that can create angst for even the most accomplished students.

• AA Amy Allen is a writer, educator, and lifelong learner. Her freelance writing business,  All of the Write Words , focuses on providing high school students with one-on-one feedback to guide them through the college application process and with crafting a thoughtful personal essay. A dedicated poet, Amy’s work has also been published in several journals including  Pine Row Press ,  Months to Years,  and  Atlanta Review .

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Student story: admissions essay about a past mistake, how to write a college application essay, tips for writing an effective application essay, sample college essay 1 with feedback, sample college essay 2 with feedback.

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Writing a memorable Professional Experience Essay

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

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

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

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

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

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

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

How to Score Top Marks on Professional Experience Essays

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

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

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

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

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

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

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

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

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

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Telling the Story of Your Career

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

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

1. Identify and Outline the Chapters of Your Career Story

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

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

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

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

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

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

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

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

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

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

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

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

3. Discuss Significant Challenges and Accomplishments

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

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

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

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

4. Share Major Areas of Growth

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

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

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

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

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

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

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

Professional Experience Essay Sample

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

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

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

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

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

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

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

Final Thoughts

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

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

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

Related Articles: Essay Examples

• Career Goals Essay Example
• What Will You Contribute? Essay Example
• Why MBA? and Why Our School? Essay Example
• Leadership Story Essay Example
• Professional Experience Essay Example
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How to Write the “Overcoming Challenges” Essay + Examples

What’s covered:.

• What is the Overcoming Challenges Essay?
• Real Overcoming Challenges Essay Prompts
• How to Choose a Topic
• Writing Tips

Overcoming Challenges Essay Examples

• Where to Get Your Essay Edited

While any college essay can be intimidating, the Overcoming Challenges prompt often worries students the most. Those students who’ve been lucky enough not to experience trauma tend to assume they have nothing worth saying. On the other hand, students who’ve overcome larger obstacles may be hesitant to talk about them.

Regardless of your particular circumstances, there are steps you can take to make the essay writing process simpler. Here are our top tips for writing the overcoming challenges essay successfully.

What is the “Overcoming Challenges” Essay?

The overcoming challenges prompt shows up frequently in both main application essays (like the Common App) and supplemental essays. Because supplemental essays allow students to provide schools with additional information, applicants should be sure that the subject matter they choose to write about differs from what’s in their main essay.

Students often assume the overcoming challenges essay requires them to detail past traumas. While you can certainly write about an experience that’s had a profound effect on your life, it’s important to remember that colleges aren’t evaluating students based on the seriousness of the obstacle they overcame.

On the contrary, the goal of this essay is to show admissions officers that you have the intelligence and fortitude to handle any challenges that come your way. After all, college serves as an introduction to adult life, and schools want to know that the students they admit are up to the task. 

Real “Overcoming Challenges” Essay Prompts

To help you understand what the “Overcoming Challenges” essay looks like, here are a couple sample prompts.

Currently, the Common Application asks students to answer the following prompt in 650 words or less:

“The lessons we take from obstacles we encounter can be fundamental to later success. Recount a time when you faced a challenge, setback, or failure. How did it affect you, and what did you learn from the experience?”

For the past several years, MIT has prompted students to write 200 to 250 words on the following:

“Tell us about the most significant challenge you’ve faced or something important that didn’t go according to plan. How did you manage the situation?”

In both cases, the prompts explicitly ask for your response to the challenge. The event itself isn’t as important as how it pushed you to grow.

How to Choose a Topic for an Essay on Overcoming Challenges

When it comes to finding the best topic for your overcoming challenges essays, there’s no right answer. The word “challenge” is ambiguous and could be used to reference a wide range of situations from prevailing over a bully to getting over your lifelong stage fright to appear in a school musical. Here are some suggestions to keep in mind when selecting an essay subject.

1. Avoid trivial or common topics

While there aren’t many hard-and-fast rules for choosing an essay topic, students should avoid overdone topics.

These include:

• Working hard in a challenging class
• Overcoming a sports injury
• Moving schools or immigrating to the US
• Tragedy (divorce, death, abuse)

Admissions officers have read numerous essays on the subject, so it’s harder for you to stand out (see our full list of cliché college essay topics to avoid ). If events like these were truly formative to you, you can still choose to write about them, but you’ll need to be as personal as possible. 

It’s also ideal if you have a less traditional storyline for a cliché topic; for example, if your sports injury led you to discover a new passion, that would be a more unique story than detailing how you overcame your injury and got back in the game.

Similarly, students may not want to write about an obstacle that admissions committees could perceive as low stakes, such as getting a B on a test, or getting into a small fight with a friend. The goal of this essay is to illustrate how you respond to adversity, so the topic you pick should’ve been at least impactful on your personal growth.

2. Pick challenges that demonstrate qualities you want to highlight

Students often mistakenly assume they need to have experienced exceptional circumstances like poverty, an abusive parent, or cancer to write a good essay. The truth is that the best topics will allow you to highlight specific personal qualities and share more about who you are. The essay should be less about the challenge itself, and more about how you responded to it.

Ask yourself what personality traits you want to emphasize, and see what’s missing in your application. Maybe you want to highlight your adaptability, for example, but that isn’t clearly expressed in your application. In this case, you might write about a challenge that put your adaptability to the test, or shaped you to become more adaptable.

Here are some examples of good topics we’ve seen over the years:

• Not having a coach for a sports team and becoming one yourself
• Helping a parent through a serious health issue
• Trying to get the school track dedicated to a coach
• Having to switch your Model UN position last-minute

Tips for Writing an Essay About Overcoming Challenges

Once you’ve selected a topic for your essays, it’s time to sit down and write. For best results, make sure your essay focuses on your efforts to tackle an obstacle rather than the problem itself. Additionally, you could avoid essay writing pitfalls by doing the following:

1. Choose an original essay structure

If you want your overcoming challenges essay to attract attention, aim to break away from more traditional structures. Most of these essays start by describing an unsuccessful attempt at a goal and then explain the steps the writer took to master the challenge. 

You can stand out by choosing a challenge you’re still working on overcoming, or focus on a mental or emotional challenge that spans multiple activities or events. For example, you might discuss your fear of public speaking and how that impacted your ability to coach your brother’s Little League team and run for Student Council. 

You can also choose a challenge that can be narrated in the moment, such as being put on the spot to teach a yoga class. These challenges can make particularly engaging essays, as you get to experience the writer’s thoughts and emotions as they unfold.

Keep in mind that you don’t necessarily need to have succeeded in your goal for this essay. Maybe you ran for an election and lost, or maybe you proposed a measure to the school board that wasn’t passed. It’s still possible to write a strong essay about topics like these as long as you focus on your personal growth. In fact, these may make for even stronger essays since they are more unconventional topics.

2. Focus on the internal

When writing about past experiences, you may be tempted to spend too much time describing specific people and events. With an Overcoming Challenges essay though, the goal is to focus on your thoughts and feelings.

For example, rather than detail all the steps you took to become a better public speaker, use the majority of your essay to describe your mental state as you embarked on the journey to achieving your goals. Were you excited, scared, anxious, or hopeful? Don’t be afraid to let the reader in on your innermost emotions and thoughts during this process.

3. Share what you learned 

An Overcoming Challenges essay should leave the reader with a clear understanding of what you learned on your journey, be it physical, mental, or emotional. There’s no need to explicitly say “this experience taught me X,” but your essay should at least implicitly share any lessons you learned. This can be done through your actions and in-the-moment reflections. Remember that the goal is to show admissions committees why your experiences make you a great candidate for admission. 

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

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

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

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

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

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

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

This essay is an excellent example because the writer turns an everyday challenge—starting a fire—into an exploration of her identity. The writer was once “a kind of rustic princess, a cradler of spiders and centipedes,” but has since traded her love of the outdoors for a love of music, writing, and reading. 

The story begins in media res , or in the middle of the action, allowing readers to feel as if we’re there with the writer. One of the essay’s biggest strengths is its use of imagery. We can easily visualize the writer’s childhood and the present day. For instance, she states that she “rubbed and rubbed [the twigs] until shreds of skin flaked from my fingers.”

The writing has an extremely literary quality, particularly with its wordplay. The writer reappropriates words and meanings, and even appeals to the senses: “My face burned long after I left the fire pit. The camp stank of salmon and shame.” She later uses a parallelism to cleverly juxtapose her changed interests: “instead of scaling a white pine, I’d practiced scales on my piano.”

One of the essay’s main areas of improvement is its overemphasis on the “story” and lack of emphasis on the reflection. The second to last paragraph about changing perspective is crucial to the essay, as it ties the anecdote to larger lessons in the writer’s life. She states that she hasn’t changed, but has only shifted perspective. Yet, we don’t get a good sense of where this realization comes from and how it impacts her life going forward. 

The end of the essay offers a satisfying return to the fire imagery, and highlights the writer’s passion—the one thing that has remained constant in her life.

“Getting beat is one thing – it’s part of competing – but I want no part in losing.” Coach Rob Stark’s motto never fails to remind me of his encouragement on early-morning bus rides to track meets around the state. I’ve always appreciated the phrase, but an experience last June helped me understand its more profound, universal meaning.

Stark, as we affectionately call him, has coached track at my high school for 25 years. His care, dedication, and emphasis on developing good character has left an enduring impact on me and hundreds of other students. Not only did he help me discover my talent and love for running, but he also taught me the importance of commitment and discipline and to approach every endeavor with the passion and intensity that I bring to running. When I learned a neighboring high school had dedicated their track to a longtime coach, I felt that Stark deserved similar honors.

Our school district’s board of education indicated they would only dedicate our track to Stark if I could demonstrate that he was extraordinary. I took charge and mobilized my teammates to distribute petitions, reach out to alumni, and compile statistics on the many team and individual champions Stark had coached over the years. We received astounding support, collecting almost 3,000 signatures and pages of endorsements from across the community. With help from my teammates, I presented this evidence to the board.

They didn’t bite. 

Most members argued that dedicating the track was a low priority. Knowing that we had to act quickly to convince them of its importance, I called a team meeting where we drafted a rebuttal for the next board meeting. To my surprise, they chose me to deliver it. I was far from the best public speaker in the group, and I felt nervous about going before the unsympathetic board again. However, at that second meeting, I discovered that I enjoy articulating and arguing for something that I’m passionate about.

Public speaking resembles a cross country race. Walking to the starting line, you have to trust your training and quell your last minute doubts. When the gun fires, you can’t think too hard about anything; your performance has to be instinctual, natural, even relaxed. At the next board meeting, the podium was my starting line. As I walked up to it, familiar butterflies fluttered in my stomach. Instead of the track stretching out in front of me, I faced the vast audience of teachers, board members, and my teammates. I felt my adrenaline build, and reassured myself: I’ve put in the work, my argument is powerful and sound. As the board president told me to introduce myself, I heard, “runners set” in the back of my mind. She finished speaking, and Bang! The brief silence was the gunshot for me to begin. 

The next few minutes blurred together, but when the dust settled, I knew from the board members’ expressions and the audience’s thunderous approval that I had run quite a race. Unfortunately, it wasn’t enough; the board voted down our proposal. I was disappointed, but proud of myself, my team, and our collaboration off the track. We stood up for a cause we believed in, and I overcame my worries about being a leader. Although I discovered that changing the status quo through an elected body can be a painstakingly difficult process and requires perseverance, I learned that I enjoy the challenges this effort offers. Last month, one of the school board members joked that I had become a “regular” – I now often show up to meetings to advocate for a variety of causes, including better environmental practices in cafeterias and safer equipment for athletes.

Just as Stark taught me, I worked passionately to achieve my goal. I may have been beaten when I appealed to the board, but I certainly didn’t lose, and that would have made Stark proud.

While the writer didn’t succeed in getting the track dedicated to Coach Stark, their essay is certainly successful in showing their willingness to push themselves and take initiative.

The essay opens with a quote from Coach Stark that later comes full circle at the end of the essay. We learn about Stark’s impact and the motivation for trying to get the track dedicated to him.

One of the biggest areas of improvement in the intro, however, is how the essay tells us Stark’s impact rather than showing us: His care, dedication, and emphasis on developing good character has left an enduring impact on me and hundreds of other students. Not only did he help me discover my talent and love for running, but he also taught me the importance of commitment and discipline and to approach every endeavor with the passion and intensity that I bring to running.

The writer could’ve helped us feel a stronger emotional connection to Stark if they had included examples of Stark’s qualities, rather than explicitly stating them. For example, they could’ve written something like: Stark was the kind of person who would give you gas money if you told him your parents couldn’t afford to pick you up from practice. And he actually did that—several times. At track meets, alumni regularly would come talk to him and tell him how he’d changed their lives. Before Stark, I was ambivalent about running and was on the JV team, but his encouragement motivated me to run longer and harder and eventually make varsity. Because of him, I approach every endeavor with the passion and intensity that I bring to running.

The essay goes on to explain how the writer overcame their apprehension of public speaking, and likens the process of submitting an appeal to the school board to running a race. This metaphor makes the writing more engaging and allows us to feel the student’s emotions.

While the student didn’t ultimately succeed in getting the track dedicated, we learn about their resilience and initiative: I now often show up to meetings to advocate for a variety of causes, including better environmental practices in cafeterias and safer equipment for athletes.

Overall, this essay is well-done. It demonstrates growth despite failing to meet a goal, which is a unique essay structure. The running metaphor and full-circle intro/ending also elevate the writing in this essay.

Where to Get Your Overcoming Challenges Essay Edited

The Overcoming Challenges essay is one of the trickier supplemental prompts, so it’s important to get feedback on your drafts. 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!

Related CollegeVine Blog Posts

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Sat / act prep online guides and tips, getting college essay help: important do's and don’ts.

College Essays

If you grow up to be a professional writer, everything you write will first go through an editor before being published. This is because the process of writing is really a process of re-writing —of rethinking and reexamining your work, usually with the help of someone else. So what does this mean for your student writing? And in particular, what does it mean for very important, but nonprofessional writing like your college essay? Should you ask your parents to look at your essay? Pay for an essay service?

If you are wondering what kind of help you can, and should, get with your personal statement, you've come to the right place! In this article, I'll talk about what kind of writing help is useful, ethical, and even expected for your college admission essay . I'll also point out who would make a good editor, what the differences between editing and proofreading are, what to expect from a good editor, and how to spot and stay away from a bad one.

Table of Contents

What Kind of Help for Your Essay Can You Get?

What's Good Editing?

What should an editor do for you, what kind of editing should you avoid, proofreading, what's good proofreading, what kind of proofreading should you avoid.

What Do Colleges Think Of You Getting Help With Your Essay?

Who Can/Should Help You?

Advice for editors.

Should You Pay Money For Essay Editing?

The Bottom Line

What's next, what kind of help with your essay can you get.

Rather than talking in general terms about "help," let's first clarify the two different ways that someone else can improve your writing . There is editing, which is the more intensive kind of assistance that you can use throughout the whole process. And then there's proofreading, which is the last step of really polishing your final product.

Let me go into some more detail about editing and proofreading, and then explain how good editors and proofreaders can help you."

Editing is helping the author (in this case, you) go from a rough draft to a finished work . Editing is the process of asking questions about what you're saying, how you're saying it, and how you're organizing your ideas. But not all editing is good editing . In fact, it's very easy for an editor to cross the line from supportive to overbearing and over-involved.

Ability to clarify assignments. A good editor is usually a good writer, and certainly has to be a good reader. For example, in this case, a good editor should make sure you understand the actual essay prompt you're supposed to be answering.

Open-endedness. Good editing is all about asking questions about your ideas and work, but without providing answers. It's about letting you stick to your story and message, and doesn't alter your point of view.

Think of an editor as a great travel guide. It can show you the many different places your trip could take you. It should explain any parts of the trip that could derail your trip or confuse the traveler. But it never dictates your path, never forces you to go somewhere you don't want to go, and never ignores your interests so that the trip no longer seems like it's your own. So what should good editors do?

Help Brainstorm Topics

Sometimes it's easier to bounce thoughts off of someone else. This doesn't mean that your editor gets to come up with ideas, but they can certainly respond to the various topic options you've come up with. This way, you're less likely to write about the most boring of your ideas, or to write about something that isn't actually important to you.

If you're wondering how to come up with options for your editor to consider, check out our guide to brainstorming topics for your college essay .

Help Revise Your Drafts

Here, your editor can't upset the delicate balance of not intervening too much or too little. It's tricky, but a great way to think about it is to remember: editing is about asking questions, not giving answers .

Revision questions should point out:

• Places where more detail or more description would help the reader connect with your essay
• Places where structure and logic don't flow, losing the reader's attention
• Places where there aren't transitions between paragraphs, confusing the reader
• Moments where your narrative or the arguments you're making are unclear

But pointing to potential problems is not the same as actually rewriting—editors let authors fix the problems themselves.

Bad editing is usually very heavy-handed editing. Instead of helping you find your best voice and ideas, a bad editor changes your writing into their own vision.

You may be dealing with a bad editor if they:

• Add material (examples, descriptions) that doesn't come from you
• Use a thesaurus to make your college essay sound "more mature"
• Add meaning or insight to the essay that doesn't come from you
• Tell you what to say and how to say it
• Write sentences, phrases, and paragraphs for you
• Change your voice in the essay so it no longer sounds like it was written by a teenager

Colleges can tell the difference between a 17-year-old's writing and a 50-year-old's writing. Not only that, they have access to your SAT or ACT Writing section, so they can compare your essay to something else you wrote. Writing that's a little more polished is great and expected. But a totally different voice and style will raise questions.

Where's the Line Between Helpful Editing and Unethical Over-Editing?

Sometimes it's hard to tell whether your college essay editor is doing the right thing. Here are some guidelines for staying on the ethical side of the line.

• An editor should say that the opening paragraph is kind of boring, and explain what exactly is making it drag. But it's overstepping for an editor to tell you exactly how to change it.
• An editor should point out where your prose is unclear or vague. But it's completely inappropriate for the editor to rewrite that section of your essay.
• An editor should let you know that a section is light on detail or description. But giving you similes and metaphors to beef up that description is a no-go.

Proofreading (also called copy-editing) is checking for errors in the last draft of a written work. It happens at the end of the process and is meant as the final polishing touch. Proofreading is meticulous and detail-oriented, focusing on small corrections. It sands off all the surface rough spots that could alienate the reader.

Because proofreading is usually concerned with making fixes on the word or sentence level, this is the only process where someone else can actually add to or take away things from your essay . This is because what they are adding or taking away tends to be one or two misplaced letters.

Laser focus. Proofreading is all about the tiny details, so the ability to really concentrate on finding small slip-ups is a must.

Excellent grammar and spelling skills. Proofreaders need to dot every "i" and cross every "t." Good proofreaders should correct spelling, punctuation, capitalization, and grammar. They should put foreign words in italics and surround quotations with quotation marks. They should check that you used the correct college's name, and that you adhered to any formatting requirements (name and date at the top of the page, uniform font and size, uniform spacing).

Limited interference. A proofreader needs to make sure that you followed any word limits. But if cuts need to be made to shorten the essay, that's your job and not the proofreader's.

A bad proofreader either tries to turn into an editor, or just lacks the skills and knowledge necessary to do the job.

Some signs that you're working with a bad proofreader are:

• If they suggest making major changes to the final draft of your essay. Proofreading happens when editing is already finished.
• If they aren't particularly good at spelling, or don't know grammar, or aren't detail-oriented enough to find someone else's small mistakes.
• If they start swapping out your words for fancier-sounding synonyms, or changing the voice and sound of your essay in other ways. A proofreader is there to check for errors, not to take the 17-year-old out of your writing.

What Do Colleges Think of Your Getting Help With Your Essay?

Admissions officers agree: light editing and proofreading are good—even required ! But they also want to make sure you're the one doing the work on your essay. They want essays with stories, voice, and themes that come from you. They want to see work that reflects your actual writing ability, and that focuses on what you find important.

On the Importance of Editing

Get feedback. Have a fresh pair of eyes give you some feedback. Don't allow someone else to rewrite your essay, but do take advantage of others' edits and opinions when they seem helpful. ( Bates College )

Read your essay aloud to someone. Reading the essay out loud offers a chance to hear how your essay sounds outside your head. This exercise reveals flaws in the essay's flow, highlights grammatical errors and helps you ensure that you are communicating the exact message you intended. ( Dickinson College )

On the Value of Proofreading

Share your essays with at least one or two people who know you well—such as a parent, teacher, counselor, or friend—and ask for feedback. Remember that you ultimately have control over your essays, and your essays should retain your own voice, but others may be able to catch mistakes that you missed and help suggest areas to cut if you are over the word limit. ( Yale University )

Proofread and then ask someone else to proofread for you. Although we want substance, we also want to be able to see that you can write a paper for our professors and avoid careless mistakes that would drive them crazy. ( Oberlin College )

On Watching Out for Too Much Outside Influence

Limit the number of people who review your essay. Too much input usually means your voice is lost in the writing style. ( Carleton College )

Ask for input (but not too much). Your parents, friends, guidance counselors, coaches, and teachers are great people to bounce ideas off of for your essay. They know how unique and spectacular you are, and they can help you decide how to articulate it. Keep in mind, however, that a 45-year-old lawyer writes quite differently from an 18-year-old student, so if your dad ends up writing the bulk of your essay, we're probably going to notice. ( Vanderbilt University )

Now let's talk about some potential people to approach for your college essay editing and proofreading needs. It's best to start close to home and slowly expand outward. Not only are your family and friends more invested in your success than strangers, but they also have a better handle on your interests and personality. This knowledge is key for judging whether your essay is expressing your true self.

Parents or Close Relatives

Your family may be full of potentially excellent editors! Parents are deeply committed to your well-being, and family members know you and your life well enough to offer details or incidents that can be included in your essay. On the other hand, the rewriting process necessarily involves criticism, which is sometimes hard to hear from someone very close to you.

A parent or close family member is a great choice for an editor if you can answer "yes" to the following questions. Is your parent or close relative a good writer or reader? Do you have a relationship where editing your essay won't create conflict? Are you able to constructively listen to criticism and suggestion from the parent?

One suggestion for defusing face-to-face discussions is to try working on the essay over email. Send your parent a draft, have them write you back some comments, and then you can pick which of their suggestions you want to use and which to discard.

Teachers or Tutors

A humanities teacher that you have a good relationship with is a great choice. I am purposefully saying humanities, and not just English, because teachers of Philosophy, History, Anthropology, and any other classes where you do a lot of writing, are all used to reviewing student work.

Moreover, any teacher or tutor that has been working with you for some time, knows you very well and can vet the essay to make sure it "sounds like you."

If your teacher or tutor has some experience with what college essays are supposed to be like, ask them to be your editor. If not, then ask whether they have time to proofread your final draft.

Guidance or College Counselor at Your School

The best thing about asking your counselor to edit your work is that this is their job. This means that they have a very good sense of what colleges are looking for in an application essay.

At the same time, school counselors tend to have relationships with admissions officers in many colleges, which again gives them insight into what works and which college is focused on what aspect of the application.

Unfortunately, in many schools the guidance counselor tends to be way overextended. If your ratio is 300 students to 1 college counselor, you're unlikely to get that person's undivided attention and focus. It is still useful to ask them for general advice about your potential topics, but don't expect them to be able to stay with your essay from first draft to final version.

Friends, Siblings, or Classmates

Although they most likely don't have much experience with what colleges are hoping to see, your peers are excellent sources for checking that your essay is you .

Friends and siblings are perfect for the read-aloud edit. Read your essay to them so they can listen for words and phrases that are stilted, pompous, or phrases that just don't sound like you.

You can even trade essays and give helpful advice on each other's work.

If your editor hasn't worked with college admissions essays very much, no worries! Any astute and attentive reader can still greatly help with your process. But, as in all things, beginners do better with some preparation.

First, your editor should read our advice about how to write a college essay introduction , how to spot and fix a bad college essay , and get a sense of what other students have written by going through some admissions essays that worked .

Then, as they read your essay, they can work through the following series of questions that will help them to guide you.

Introduction Questions

• Is the first sentence a killer opening line? Why or why not?
• Does the introduction hook the reader? Does it have a colorful, detailed, and interesting narrative? Or does it propose a compelling or surprising idea?
• Can you feel the author's voice in the introduction, or is the tone dry, dull, or overly formal? Show the places where the voice comes through.

Essay Body Questions

• Does the essay have a through-line? Is it built around a central argument, thought, idea, or focus? Can you put this idea into your own words?
• How is the essay organized? By logical progression? Chronologically? Do you feel order when you read it, or are there moments where you are confused or lose the thread of the essay?
• Does the essay have both narratives about the author's life and explanations and insight into what these stories reveal about the author's character, personality, goals, or dreams? If not, which is missing?
• Does the essay flow? Are there smooth transitions/clever links between paragraphs? Between the narrative and moments of insight?

Reader Response Questions

• Does the writer's personality come through? Do we know what the speaker cares about? Do we get a sense of "who he or she is"?
• Where did you feel most connected to the essay? Which parts of the essay gave you a "you are there" sensation by invoking your senses? What moments could you picture in your head well?
• Where are the details and examples vague and not specific enough?
• Did you get an "a-ha!" feeling anywhere in the essay? Is there a moment of insight that connected all the dots for you? Is there a good reveal or "twist" anywhere in the essay?
• What are the strengths of this essay? What needs the most improvement?

Should You Pay Money for Essay Editing?

One alternative to asking someone you know to help you with your college essay is the paid editor route. There are two different ways to pay for essay help: a private essay coach or a less personal editing service , like the many proliferating on the internet.

My advice is to think of these options as a last resort rather than your go-to first choice. I'll first go through the reasons why. Then, if you do decide to go with a paid editor, I'll help you decide between a coach and a service.

When to Consider a Paid Editor

In general, I think hiring someone to work on your essay makes a lot of sense if none of the people I discussed above are a possibility for you.

If you can't ask your parents. For example, if your parents aren't good writers, or if English isn't their first language. Or if you think getting your parents to help is going create unnecessary extra conflict in your relationship with them (applying to college is stressful as it is!)

If you can't ask your teacher or tutor. Maybe you don't have a trusted teacher or tutor that has time to look over your essay with focus. Or, for instance, your favorite humanities teacher has very limited experience with college essays and so won't know what admissions officers want to see.

If you can't ask your guidance counselor. This could be because your guidance counselor is way overwhelmed with other students.

If you can't share your essay with those who know you. It might be that your essay is on a very personal topic that you're unwilling to share with parents, teachers, or peers. Just make sure it doesn't fall into one of the bad-idea topics in our article on bad college essays .

If the cost isn't a consideration. Many of these services are quite expensive, and private coaches even more so. If you have finite resources, I'd say that hiring an SAT or ACT tutor (whether it's PrepScholar or someone else) is better way to spend your money . This is because there's no guarantee that a slightly better essay will sufficiently elevate the rest of your application, but a significantly higher SAT score will definitely raise your applicant profile much more.

Should You Hire an Essay Coach?

On the plus side, essay coaches have read dozens or even hundreds of college essays, so they have experience with the format. Also, because you'll be working closely with a specific person, it's more personal than sending your essay to a service, which will know even less about you.

But, on the minus side, you'll still be bouncing ideas off of someone who doesn't know that much about you . In general, if you can adequately get the help from someone you know, there is no advantage to paying someone to help you.

If you do decide to hire a coach, ask your school counselor, or older students that have used the service for recommendations. If you can't afford the coach's fees, ask whether they can work on a sliding scale —many do. And finally, beware those who guarantee admission to your school of choice—essay coaches don't have any special magic that can back up those promises.

Should You Send Your Essay to a Service?

On the plus side, essay editing services provide a similar product to essay coaches, and they cost significantly less . If you have some assurance that you'll be working with a good editor, the lack of face-to-face interaction won't prevent great results.

On the minus side, however, it can be difficult to gauge the quality of the service before working with them . If they are churning through many application essays without getting to know the students they are helping, you could end up with an over-edited essay that sounds just like everyone else's. In the worst case scenario, an unscrupulous service could send you back a plagiarized essay.

Getting recommendations from friends or a school counselor for reputable services is key to avoiding heavy-handed editing that writes essays for you or does too much to change your essay. Including a badly-edited essay like this in your application could cause problems if there are inconsistencies. For example, in interviews it might be clear you didn't write the essay, or the skill of the essay might not be reflected in your schoolwork and test scores.

Should You Buy an Essay Written by Someone Else?

Let me elaborate. There are super sketchy places on the internet where you can simply buy a pre-written essay. Don't do this!

For one thing, you'll be lying on an official, signed document. All college applications make you sign a statement saying something like this:

I certify that all information submitted in the admission process—including the application, the personal essay, any supplements, and any other supporting materials—is my own work, factually true, and honestly presented... I understand that I may be subject to a range of possible disciplinary actions, including admission revocation, expulsion, or revocation of course credit, grades, and degree, should the information I have certified be false. (From the Common Application )

For another thing, if your academic record doesn't match the essay's quality, the admissions officer will start thinking your whole application is riddled with lies.

Admission officers have full access to your writing portion of the SAT or ACT so that they can compare work that was done in proctored conditions with that done at home. They can tell if these were written by different people. Not only that, but there are now a number of search engines that faculty and admission officers can use to see if an essay contains strings of words that have appeared in other essays—you have no guarantee that the essay you bought wasn't also bought by 50 other students.

• You should get college essay help with both editing and proofreading
• A good editor will ask questions about your idea, logic, and structure, and will point out places where clarity is needed
• A good editor will absolutely not answer these questions, give you their own ideas, or write the essay or parts of the essay for you
• A good proofreader will find typos and check your formatting
• All of them agree that getting light editing and proofreading is necessary
• Parents, teachers, guidance or college counselor, and peers or siblings
• If you can't ask any of those, you can pay for college essay help, but watch out for services or coaches who over-edit you work
• Don't buy a pre-written essay! Colleges can tell, and it'll make your whole application sound false.

Ready to start working on your essay? Check out our explanation of the point of the personal essay and the role it plays on your applications and then explore our step-by-step guide to writing a great college essay .

Using the Common Application for your college applications? We have an excellent guide to the Common App essay prompts and useful advice on how to pick the Common App prompt that's right for you . Wondering how other people tackled these prompts? Then work through our roundup of over 130 real college essay examples published by colleges .

Stressed about whether to take the SAT again before submitting your application? Let us help you decide how many times to take this test . If you choose to go for it, we have the ultimate guide to studying for the SAT to give you the ins and outs of the best ways to study.

Anna scored in the 99th percentile on her SATs in high school, and went on to major in English at Princeton and to get her doctorate in English Literature at Columbia. She is passionate about improving student access to higher education.

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Short Essay: My Adventurous Trip

A couple of short essay examples on an adventurous trip.

Table of Contents

My Adventurous Trip Essay Example 1

Traveling is one of the most exciting experiences one can have in life. It allows us to explore new places, meet different people, and create unforgettable memories. My recent adventurous trip was one such experience that I will cherish for a lifetime. The trip involved hiking through a dense forest, crossing a river, and reaching the summit of a mountain, where I enjoyed a breathtaking view. Despite facing challenges such as unpredictable weather and rough terrain, the trip was a memorable and rewarding experience. In this essay, I will share my experience of this adventurous trip, highlighting the challenges, the exhilarating moments, and the memories that I will cherish forever.

Our trip started with hiking through a dense forest. The forest was full of tall trees, colorful flowers, and chirping birds. The trail was steep and rocky, and we had to be careful while walking. The forest was so dense that we could hardly see the sun, and the air was full of freshness. We had to take breaks in between to catch our breath and hydrate ourselves. As we walked, we could hear the sound of a river, and after a few hours of hiking, we finally reached the river. The river was wide and had a strong current, and we had to cross it to continue our journey. We had to be careful while crossing the river, and we held hands to maintain our balance. The water was cold, and we could feel the current pushing us, but we made it to the other side, feeling proud of ourselves.

The highlight of our trip was reaching the summit of the mountain. The climb was steep and exhausting, but the view from the top was worth every effort. From the top of the mountain, we could see the entire valley, and it was a sight to behold. The sky was clear, and the sun was shining brightly, making the view even more beautiful. We took pictures and sat there for a while, enjoying the serene beauty of nature. We could hear the sound of birds and feel the cool breeze on our faces. It was a moment of pure bliss, and we felt grateful for being able to witness such a beautiful view.

Despite facing challenges such as unpredictable weather and rough terrain, the trip was a memorable and rewarding experience. We had to face unexpected rain and strong winds, which made the climb more challenging. We slipped a few times, but we managed to keep going, motivated by the thought of reaching the summit. The journey was long and tiring, but the memories we created were worth it. We bonded with our fellow travelers, shared laughter, and created memories that we will cherish forever. The trip taught us to be resilient, to push ourselves beyond our limits, and to appreciate the beauty of nature.

In conclusion, my adventurous trip was an unforgettable experience that allowed me to explore the beauty of nature, push my limits, and create memories that I will cherish forever. Hiking through a dense forest, crossing a river, and reaching the summit of a mountain were challenging but rewarding experiences. Despite facing unpredictable weather and rough terrain, we persevered and created memories that will stay with us for a lifetime. The trip taught us the importance of resilience, perseverance, and appreciation for the beauty of nature. It was an experience that I will always treasure and would love to relive again.

My Adventurous Trip Essay Example 2

My adventurous trip was an experience of a lifetime. It was a chance for me to step out of my comfort zone and explore the great outdoors. The trip was filled with activities such as hiking, camping, and kayaking. The beautiful scenery and wildlife sightings made the trip memorable. Overcoming challenges such as inclement weather and physical exertion added to the sense of accomplishment and adventure. In this essay, I will share my experiences of this unforgettable trip.

Hiking was one of the most exciting activities of the trip. We started our hike early in the morning, and the trail was challenging, but the view was worth it. The trail led us through dense forests, and we saw wildflowers, butterflies, and birds along the way. We stopped for a break at a small waterfall, and the sound of the water was soothing. As we continued our hike, we came across a steep incline, which was physically demanding, but we pushed on. At the peak, we were rewarded with an incredible view of the valley below. The sense of accomplishment we felt after completing the hike was indescribable.

Camping was another activity that added to the adventure of the trip. We set up our tents near a lake, and the view was breathtaking. We spent the night sitting around a campfire, roasting marshmallows, and sharing stories. The night sky was clear, and we saw countless stars, which was a beautiful sight. The next morning, we woke up early to go kayaking on the lake. The water was calm, and we saw fish jumping out of the water. We even saw a family of ducks swimming nearby. Kayaking was a peaceful and relaxing experience.

The trip was not without its challenges, however. We faced inclement weather during our kayaking, and it was physically demanding. The waves were strong, and the water was choppy. We had to navigate our kayaks through the waves carefully. At times, it was nerve-wracking, but we were able to push through and complete the activity. Overcoming these challenges added to the sense of adventure and accomplishment.

In conclusion, my adventurous trip was an experience that I will cherish forever. The activities such as hiking, camping, and kayaking, the beautiful scenery and wildlife sightings, and the challenges we faced made the trip unforgettable. It was an opportunity for me to step out of my comfort zone, explore the great outdoors, and create memories with friends. I hope to have more opportunities like this in the future.

My Adventurous Trip Essay Example 3

Going on an adventurous trip is an experience that many people crave. It is an opportunity to explore new destinations, push oneself to the limit, and create unforgettable memories. I recently had the chance to embark on one such journey, and it was an experience that I will never forget. My adventurous trip involved hiking through a dense forest to reach a remote waterfall. Along the way, I encountered challenging terrain and had to navigate through rough terrain. Despite the difficulties, the stunning views and sense of accomplishment made the trip a truly unforgettable adventure. In this essay, I will describe my trip in detail, highlighting the challenges and the rewards that came with it.

The first part of my adventurous trip involved hiking through a dense forest to reach a remote waterfall. The trail was not well-marked, and the terrain was challenging, consisting of steep inclines, muddy patches, and slippery rocks. The dense foliage made it difficult to see the path ahead, and we had to rely on our instincts and map reading skills to find our way through. The forest was alive with the sounds of birds and small animals, and the air was fresh and invigorating. As we got closer to our destination, the sound of rushing water became louder, and we knew we were getting close. Finally, after several hours of hiking, we arrived at the waterfall, and the sight before us was breathtaking. The waterfall was a powerful force of nature, cascading down from a height of over 100 feet. The water was crystal clear, and the surrounding rocks were covered in moss and ferns. It was a sight that made all the hiking and exertion worth it.

The second part of my adventurous trip involved navigating through rough terrain. The terrain was rocky and uneven, and we had to be careful not to slip or fall. At some points, the trail was so steep that we had to use ropes to climb up or down. The weather was also unpredictable, and we had to be prepared for sudden rain or wind. Despite the challenges, the sense of adventure and excitement kept us going. We were a group of friends, and we encouraged and supported each other along the way. We shared food and water, helped each other over difficult patches, and cheered each other on when we reached a milestone. The journey was not just about reaching the destination; it was also about the bonds we formed and the memories we created.

The final part of my adventurous trip was the sense of accomplishment that came with it. After several hours of hiking, navigating challenging terrain, and enduring unpredictable weather, we finally reached our destination. The feeling of standing in front of the waterfall, surrounded by the beauty of nature, was indescribable. It was a sense of accomplishment that came from pushing ourselves beyond our limits, from facing our fears and overcoming them. We took pictures, laughed, and savored the moment. It was a feeling that stayed with us long after the trip was over. The adventurous trip was not just a physical journey; it was also a journey of the mind and the spirit.

In conclusion, my adventurous trip was an experience that I will never forget. It involved hiking through a dense forest to reach a remote waterfall, navigating through rough terrain, and the sense of accomplishment that came with it. The trip was challenging, but it was also rewarding. It reminded me of the beauty of nature, the importance of perseverance, and the power of friendship. It was an experience that taught me to appreciate the simple things in life and to embrace the adventure that comes with it.

About Mr. Greg

Mr. Greg is an English teacher from Edinburgh, Scotland, currently based in Hong Kong. He has over 5 years teaching experience and recently completed his PGCE at the University of Essex Online. In 2013, he graduated from Edinburgh Napier University with a BEng(Hons) in Computing, with a focus on social media.

Mr. Greg’s English Cloud was created in 2020 during the pandemic, aiming to provide students and parents with resources to help facilitate their learning at home.

Whatsapp: +85259609792

[email protected]

Ranchers face off with the Bureau of Land Management in a dispute over historic public land grazing rights near Bunkerville, Nevada on 12 April 2014. Photo Jim Uruquhart/Reuters

What is ‘lived experience’?

The term is ubiquitous and double-edged. it is both a key source of authentic knowledge and a danger to true solidarity.

by Patrick J Casey   + BIO

Everywhere you turn, there is talk of lived experience. But there is little consensus about what the phrase ‘lived experience’ means, where it came from, and whether it has any value. Although long used by academics, it has become ubiquitous, leaping out of the ivory tower and showing up in activism, government, consulting, as well as popular culture. The Lived Experience Leaders Movement explains that those who have lived experiences have ‘[d]irect, first-hand experience, past or present, of a social issue(s) and/or injustice(s)’. A recent brief from the US Department of Health and Human Services suggests that those who have lived experience have ‘valuable and unique expertise’ that should be consulted in policy work, since engaging those with ‘knowledge based on [their] perspective, personal identities, and history’ can ‘help break down power dynamics’ and advance equity. A search of Twitter reveals a constant stream of use, from assertions like ‘Your research doesn’t override my lived experience,’ to ‘I’m pretty sure you’re not allowed to question someone’s lived experience.’

A recurring theme is a connection between lived experience and identity. A recent nominee for the US Secretary of Labor, Julie Su, is lauded as someone who will ‘bring her lived experience as a daughter of immigrants, a woman of color, and an Asian American to the role’. The Human Rights Campaign asserts that ‘[l]aws and legislation must reflect the lived experiences of LGBTQ people’. An editorial in Nature Mental Health notes that incorporation of ‘people with lived experience’ has ‘taken on the status of a movement’ in the field.

Carried a step further, the notion of lived experience is bound up with what is often called identity politics, as when one claims to be speaking from the standpoint of an identity group – ‘in my lived experience as a…’ or, simply, ‘speaking as a…’ Here, lived experience is often invoked to establish authority and prompt deference from others since, purportedly, only members of a shared identity know what it’s like to have certain kinds of experience or to be a member of that group. Outsiders sense that they shouldn’t criticise what is said because , grounded in lived experience, ‘people’s spoken truths are, in and of themselves, truths .’ Criticism of lived experience might be taken to invalidate or dehumanise others or make them feel unsafe.

So, what is lived experience? Where did it come from? And what does it have to do with identity politics?

‘L ived experience’ is a translation of one of the two German words for experience: Erlebnis . The other German word for experience, Erfahrung , is the older of the two. It has as its root fahren , ‘to journey’. When one calls someone ‘experienced’, it is this kind of experience that is being appealed to. Erfahrung is experience that is cumulative – as one who has long journeyed a path knows the road – and is associated with practice, skill and know-how. Erfahrung can sometimes be translated as ‘learning’, and suggests experience that might be gathered in the form of practical wisdom and passed on as tradition.

Erlebnis , by contrast, has Leben or ‘life’ as its root. Rather than experience that accumulates over time or is held in the form of tradition, Erlebnis connotes experience that is living and immediate. It is the province of the pre-reflective and innocent, as opposed to the refined and distilled. Erlebnis implies experience that is new, fresh and sometimes disruptive – what doesn’t easily fit into the public, cultural patterns associated with Erfahrung .

In the late 19th and early 20th centuries , German philosophers developed and exploited the contrast between these two kinds of experience. This led philosophers and translators in other languages – most notably, for our purposes, English and French – to add the qualifiers ‘lived’ or ‘ vécue ’ to signify when they were invoking Erlebnis as opposed to Erfahrung . So, while the multifaceted English word ‘experience’ can be used to translate both Erlebnis and Erfahrung , when someone wants to refer to the distinctive form of experience picked out by Erlebnis , they often use ‘lived experience’ to do so.

The external world became the realm of ‘facts’, while meaning, value and feeling were increasingly thought of as subjective

According to Richard E Palmer in his book Hermeneutics ( 1969 ), Erlebnis first appeared in the plural form Erlebnisse in the work of Johann Wolfgang von Goethe, while Hans-Georg Gadamer suggests in Truth and Method ( 1960 ) that the first singular use can be found in one of G W F Hegel’s letters. But the word really didn’t come into common usage until the 1870s. It was then that the German philosopher Wilhelm Dilthey brought Erlebnis into the mainstream, when he used it in his 1870 biography of Friedrich Schleiermacher and in an 1877 essay on Goethe, a version of which was later included in his highly regarded work Das Erlebnis und die Dichtung (‘Poetry and Lived Experience’; 1906).

While himself a staunch empiricist, Dilthey was part of a Romantic movement reacting to earlier empiricists, positivists and Kantians, whom he believed relied on an unduly narrow conception of experience. Since these philosophers were primarily concerned to provide an epistemological foundation for the budding natural sciences, they focused on the cognitive aspects of experience – that is, how experience can be used as the basis for scientific knowledge of the kind produced by natural philosophers such as Isaac Newton.

At the risk of oversimplification, these thinkers focused primarily on sensation – the ‘objective’ world encountered by the senses and, in particular, those aspects of sensory experience that could, through abstraction, be quantified, measured and shared. Other features of experience, such as meaning, significance, value, purpose, feeling and the like, were ignored and relegated to the ‘subjective’ realm of ‘inner experience’. This epistemology created a split between subject and object, mind and world, fact and value. The external or objective world became the realm of ‘facts’, while meaning, significance, value, purpose and feeling were increasingly thought of as subjective.

While a Romantic, Dilthey was also insistent upon being more empirical than earlier empiricists. He saw his task as getting back behind the subject/object, mind/world, fact/value split to embodied, full-blooded, living experience. In a line from his work Introduction to the Human Sciences ( 1883 ), Dilthey writes: ‘No real blood flows in the veins of the knowing subject constructed by Locke, Hume, and Kant, but rather the diluted extract of reason as a mere activity of thought.’ Dilthey believed we have to return to conscious lived experience, not because the content of lived experience is indubitable but because we have no alternative. The only way we can know anything is through conscious experience.

Dilthey maintained that the subject/object split led us to the false belief that the world of the natural sciences was the true or fundamental reality. By contrast, Dilthey argued, since our original access to the world is through conscious experience, so-called objective reality is only the husk that remains by exsanguinating lived experience. This means that the world of the natural sciences is not fundamental, but necessarily derivative. Dilthey designed the concept of Erlebnis (lived experience) to reflect the fact that, in our original experience, we know the world as a meaningful, coherent whole – a composite of inner and outer, subjective and objective, facts and values. One can analyse the original whole of lived experience into subjective and objective elements, but this analysis is only possible because subject and object are originally bound up together in the fundamental reality of lived experience.

C ontemporary usage of lived experience still bears the mark of Dilthey’s original formulations (a point I’ve developed in more detail in other writings ). For Dilthey, lived experience should first be taken to signify the view from the inside, the ‘what it’s like’ to be a human being. There is a stark difference between learning about the physics of colour and being awestruck by the prismatic beauty of a sunset; one thing to know about the biochemistry involved in love and another to experience the extraordinary, ineffable thrill of actually falling in love.

Because it is the ‘view from the inside’, lived experience belongs to the individual and is emphatically personal as opposed to scientific experience, which Martin Jay, in his superb book Songs of Experience ( 2005 ), says belongs to the ‘imagined collective subject, at once impersonal and immortal’. As such, lived experience picks out the first-person perspective of everyday experience as opposed to the third-person detached and dispassionate experience of the sciences. ‘Lived experience’ is used to indicate pre-reflective experience as we ordinarily enjoy it – experience that is lived through , not looked at .

Lived experience is an embodied, not a purely cerebral, affair. As such, it involves thought, feelings and activity. When Dilthey talks about lived experience, one should think about the back-and-forth relationship of an organism with its environment in an interactive, embodied way. We interact with our environment because we have concerns and purposes. This means that, in lived experience, we respond affectively and volitionally to a world that shows up as immediately meaningful and significant. Meaning and value are not projections of a free-floating mind, but we find them present as we interact with our environment. If I am building a fence, the hammer and nails will show up as valuable tools to accomplish this goal, while the rocky ground will show up as an obstacle that elicits a feeling of frustration, and causes me to look for a sturdier shovel. Lived experience should be thought of as encompassing the subject and the object in an intelligible, coherent whole that involves understanding, feeling and action.

A person who has read Romeo and Juliet will construe his experiences of love differently than someone who has not

The fact that the world shows up to us in relationship to our concerns and purposes highlights the fact that lived experience is fundamentally interpretive, and interpretive at multiple levels. In addition to our purposes shaping our experiences, so does our personal history. Lived experience is inextricably temporal – the past resonates in the present and points us to the future. For example, my past experiences of joy in going to church, for example, will enter into and shape my present experience of church itself , as well as my desires going forward. Someone who has had negative experiences of church in the past will find their present experiences shaped in a different way. This is part of why we sometimes say that two people who have experienced the same thing nevertheless have very different experiences.

The culture into which we are born also shapes our experiences. Dilthey was so convinced of the indissolubility of the subjective and objective in lived experience that he thought that ‘objective spirit’ – culture, essentially – not only frames but actively shapes our experiences as we live them . A young person who has read Romeo and Juliet and been affected by it will construe his experiences of love differently than someone who has not. Dilthey went so far as to claim that the musical genius is so immersed in music that she experiences the world itself musically. This is all part and parcel of Dilthey’s hermeneutic conviction that might be expressed by saying that what we bring to the world shapes what we find there.

In addition to the plurality that William James called ‘stream of consciousness’, Dilthey also talked about a singular unit of meaning called ‘lived experience’. Much like ‘a love affair’ or ‘the death of a loved one’ is not one event but a plurality that shares a common meaning, so often too is ‘a lived experience’. In memory, we gather various experiences with a shared meaning and create a unity out of multiplicity. The whole that results can itself be called a ‘lived experience’. This usage is indicated in sayings such as ‘my lived experience of mental illness’ or ‘my lived experience of sexism’. Here, the speaker isn’t usually referring to one single experience but a plurality that shares a single significance.

Importantly, lived experience doesn’t reach its final form until its meaning is teased out, codified and expressed – a process that involves conscious interpretation. Rudolf Makkreel notes that, while for Dilthey lived experience has a preliminary intelligibility, its full meaning requires this intermediary of reflection and expression. Ultimately, Dilthey thought that we must interpret our own life experiences in the same way that we interpret others.

This dual meaning of lived experience – that it’s both the unmediated material and the yield from conscious reflection – is reflected in contemporary usage when people say that lived experience isn’t only direct experience but also knowledge that is gleaned from such experiences. It is also likely behind the ambivalence that many feel about whether or not lived experience can be communicated and shared. So it’s crucial to note that, in Dilthey’s formulation, lived experience that has been codified can be communicated, especially in the form of literature, poetry and autobiography. Though Dilthey believed it’s not possible to communicate one’s exact inner states – understanding is always partial, and the life of the individual is ineffable – he nevertheless thought that our common humanity made it possible to come to understand ‘what it’s like’ to be someone else.

I n the 1940s and ’50s, existentialists adopted the language of lived experience. Sonia Kruks notes in Retrieving Experience ( 2001 ) that this coincided with a turn towards identity politics, creating a link between the two that continues to the present. Jean-Paul Sartre wrote about the lived experience of being a Jew (though he was not Jewish) in Anti-Semite and Jew ( 1946 ), Simone de Beauvoir wrote about the lived experience of being a woman (even titling the second volume of her magnum opus, The Second Sex ( 1949 ), ‘ L’expérience vécue ’ – a French rendering of Erlebnis ), and Frantz Fanon , in Black Skin, White Masks ( 1952 ), wrote about ‘the lived experience of the black man’. A central theme of this period is a call for a return to lived experience combined with a recognition of the distorting effect of the dominant culture, of ideology, of ‘naturalised’ categories such as race and gender, which warp one’s experience of oneself and tempt one to live inauthentically.

Probably no contemporary philosopher has done more to help us understand identity politics than Charles Taylor, especially in his book The Ethics of Authenticity ( 1991 ) and his essay ‘The Politics of Recognition’ ( 1995 ). Taylor invites us to see identity politics as a response to the persistent human need for recognition – for one’s most authentic self to be seen and valued. Whereas in premodernity, recognition would be assured by fulfilling one’s preset social role, now recognition is no longer guaranteed. Accordingly, Taylor says, the unique expression of one’s authentic self – what we would now call an ‘identity’ – must be explicitly acknowledged. Taylor argues that the demand for recognition is tied to the romantic notion that there is a true or authentic self that has been obscured by society. In this romantic framing, ‘[o]ur moral salvation comes from recovering authentic moral contact with ourselves.’

If others don’t and can’t know what it’s like – then the only alternative is to defer to those who have privileged knowledge

And so, today, many feel it is their duty to undergo a process of self-exploration to find their authentic self, especially when that self belongs to an identity which is viewed as historically marginalised and oppressed. The goal is no longer simply self-realisation – to become who one is – but to demand recognition on behalf of that identity group, thus fostering political change by undermining the structures which have inhibited the authentic way of living of marginalised people.

Lived experience plays a central role in this process in several ways. First, it has become a marker of authenticity. A commonplace among today’s intelligentsia is that historical categories don’t match the lived experience of marginalised people. Miranda Fricker has designated this phenomenon ‘ hermeneutical injustice ’. Hermeneutical injustice occurs when a marginalised person is unable to understand their own social reality or experiences because the resources for understanding experience are created by those who are dominantly situated in culture. This echoes Fanon’s argument that many philosophical categories present in culture – even the master/slave dialectic in Hegel – were not created with Black experience in mind. Talk of lived experience thus becomes a way of signalling authenticity because one’s experiences aren’t reflected in the dominant culture.

Second, invoking lived experience has become a way of achieving epistemic and political authority, usually by claiming that people with marginalised identities have privileged access to knowledge that others are ill-equipped to understand or critique. ‘You don’t know what it’s like’ is a popular refrain. If others don’t and indeed can’t know what it’s like – then the only alternative is to defer to those who have privileged knowledge. When the authority of lived experience is felt, then language like ‘Speaking as a…’ becomes a way of signalling privileged knowledge which others should defer to. The truths of lived experience are now offered, in the words of Raymond Williams, ‘not only as truths, but as the most authentic kind of truths’. By the same token, members of culturally dominant groups can use the same language to express humility and deference towards others – ‘Speaking as a white man…’, ‘I don’t know what it’s like,’ and so on.

Third, lived experience becomes a way of boundary policing. Appeals like ‘Speaking as a…’ can prompt reflexive deference only if we engage in what Gayatri Chakravorty Spivak called ‘strategic essentialism’ – that is, only if we behave as if groups are monolithic and homogeneous (which they aren’t). Kwame Anthony Appiah points out that, if Black people seek recognition as Black people (which is entirely reasonable, given how that identity was constructed for the purpose of denigration and oppression), this goes hand in hand with creating boundaries – what it means to be ‘authentically’ Black. In this context, talk of lived experience can be used to police what counts as authentic Blackness, creating a kind of social prison. As he puts it in his essay ‘Identity, Authenticity, Survival’ ( 1995 ), ‘[b]etween the politics of recognition and the politics of compulsion, there is no bright line.’ In other words, if the authority of lived experience is to have weight, only the experience of some people can be allowed to count. If one transgresses against certain boundaries, then one’s status as an ‘authentic’ member of the group – and the importance of one’s experiences – can be questioned.

I t is perhaps not surprising that those who routinely deploy lived experience for political purposes haven’t been particularly critical about its use. Yet it was concerns of the kind that Appiah expressed that led Joan W Scott to argue in ‘The Evidence of Experience’ ( 1991 ) that reliance on lived experience has unexpected and heavy costs (an argument echoed in many ways by Wendy Brown). If, in seeking to empower, say, Black women, we encourage them to share their experiences as Black women (‘In my lived experience as a Black woman…’), this surreptitiously reinforces or ‘reifies’ (freezes and treats as real, timeless and natural) historically constructed categories like ‘Black’ and ‘women’. Rather than liberating marginalised people, using this language risks making us complicit in the persistence of categories that should be deconstructed.

Appeals to lived experience as a purely subjective experience that is unanswerable or not subject to critique are questionable at best. While some use ‘lived experience’ as if it indicates something indubitable and certain, bringing it close to purely subjective notions like qualia, this doesn’t square with the obvious fact that we can misunderstand our own experiences. Somehow we’ve forgotten the lesson that earlier thinkers knew: ideology can distort and oppression corrupt even our own self-understanding. As Appiah pointed out in The Guardian in November 2020, experience ‘is never unmediated and self-interpreting’. This means that lived experience doesn’t warrant reflexive deference, even though lived experience has become so closely tied to identity and dignity that others’ refusal to defer or their willingness to ask questions or critique may feel like erasure.

We need more than lived experience to work for positive social change

It’s worth calling attention to the fact that, since lived experience is fundamentally interpretive, it is a questionable foundation for authenticity. Following the recognition that people from marginalised communities have experiences that aren’t reflected in the language and concepts of the dominant culture, there has been a push for the creation of new conceptual categories to fill the void – to name an authentic reality previously obscured by society (such as new gender or sexual identities, so-called microaggressions, etc). However, there has been insufficient attention to the fact that new language and concepts may not just reflect experiences but create them. Dilthey argued that our own individual experiences are more than just subjective feelings but embody objective cultural structures, language, concepts, and the like. That is, objective meanings and structures permeate our lives, not just at the level of reflective interpretation, but at the level of lived experience itself. Think of how, among others, concepts such as Black/white, man/woman, Christian/Muslim/Hindu, Autistic/bipolar/OCD/neurotypical, privileged/underprivileged shape our experiences of ourselves and others.

If this is right, then it’s possible that lived experience and language are in a relationship much like the one that Taylor argues exists between nationalism and states – nationalism creates states but then states also produce nationalism. So, lived experience gives rise to new concepts but then new concepts give rise to new lived experiences. In at least some cases, new language may create as much as reflect the experiences that it refers to. If Dilthey is right that culture enters into and shapes lived experience, then we must be cautious about allowing lived experience to function as the touchstone of authenticity. Our concepts don’t just reveal, but create ‘who one truly is. ’

In her essay ‘Essentialism and Experience’ ( 1991 ), bell hooks writes that ‘[i]dentity politics emerges out of the struggles of oppressed or exploited groups to have a standpoint on which to critique dominant structures.’ For many today, the authority of lived experience is thought to provide precisely that standpoint. The problem is that lived experience isn’t a pure foundation that escapes the intrusion of language, theory and culture, and therefore can’t be used as the basis of authority or authenticity to which others should reflexively defer. We need more than lived experience to work for positive social change.

S o, where do we go from here? What is a proper role for lived experience in our society and our politics? We should start by acknowledging that lived experience is, in fact, valuable. It should be obvious that people have different experiences, and that we should all cultivate not only a readiness to listen to those who do but an openness to learning from them as well. In policymaking, those who have direct experience of the effects of policies should be consulted – and not only because they may have knowledge that policymakers may lack, but because, as the ‘nothing about us, without us’ motto of the disability rights movement highlights, they are often the primary stakeholders. Lived experience can thus serve as a check on creeping technocratic bureaucracies which have an affinity for losing touch with reality.

At the same time, we could be more thoughtful about how we employ lived experience. To start, we should recognise that lived experience – and research based on it – doesn’t trump other forms of enquiry but complements it. As C S Lewis put it in his essay ‘Meditation in a Toolshed’ (1945), if we want to understand the world, we should, insofar as possible, view things from the inside and from the outside. The two perspectives should stand in creative tension.

Incommunicable lived experience might serve as a licence for political authority, but it can never serve as the basis of solidarity

Along the same lines, we should be judicious about the use of identity categories and, insofar as possible, refrain from treating them like they are natural and eternal, remaining mindful of the interrelationship between our concepts and experience. While identity is not simply a matter of self-description, we should recognise that many people do not ‘identify with’ and are not motivated by the identities that others ascribe to them. Even when they do so identify, we should be careful not to treat all members of a group as if they’re the same or all have the same experiences and interpretations of those experiences. We shouldn’t include only those who have had the ‘right’ kind of lived experience or learned the ‘right’ lessons from those experiences. When we do that, we’re not really utilising lived experience at all, but politics, and we are merely exploiting ‘people with lived experience’ for political reasons.

Finally, we should let go of the notion that only members of one’s own group can understand ‘what it’s like’ to have one’s experiences. If we persist in saying lived experience is private and can’t be shared, we undermine the impetus for trying to understand experiences other than those of one’s own group. This fracturing along identity lines is disastrous for a liberal-democratic polity where durable social change is largely predicated upon solidarity across difference. Incommunicable lived experience might serve as a licence for political authority and a demand for deference, but it can never serve as the basis of solidarity. Instead, we should encourage people to have the courage to try to understand experiences other than their own. Emily Tilton and Briana Toole rightly argue that, if our openness to the experiences of others is to be personally and socially transformative, one’s posture can’t be one of passive deference, but one of active and collaborative enquiry. Lived experience – especially when it falls outside of the mainstream – can and should serve as a catalyst for enquiry and dialogue. And the mark of a genuine conversation is you never know where you’ll end up.

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Books | How José Vadi’s essay collection…

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Books | how josé vadi’s essay collection ‘chipped’ explores the skateboarder’s experience, the author grew up in pomona and spent his youth skating around southern california's san gabriel valley and inland empire..

To a skater, the board is an extension of the body. And like a skateboard, an aging body can show life’s hard knocks.

“Skateboarding is truly rebellious and punk in its ethos,” said author José Vadi . “Nobody should care how old someone is just as much as someone shouldn’t care about their sexual orientation, gender, economic background. None of those things should be the determining factor of your ability to enjoy yourself on a skateboard.”

Vadi explores these ideas and more in his sophomore collection of essays, “Chipped: Writing from a Skateboarder’s Lens,” out on Tuesday, April 16.

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“Having an active relationship with skateboarding means having an active relationship with your body – but also the realization of your own mortality,” Vadi said in a recent phone interview from his Sacramento home. “That happens every time you try a trick, whether or not you’re gonna land or get injured, and as your body changes over time.”

As a skater, he has been keenly aware of his changing body with each passing decade. The book’s second essay documents a bad fall he had in 2019 and the excruciating pain that lingered on for weeks. His description of the experience, like much of the collection of essays, is written with sharp prose.

“As an older skater who is graying, you definitely feel self-conscious, not just because of your age but your ability at your age, or lack thereof,” he said.

Vadi grew up in Pomona and began skating in the mid-’90s, on the cusp of his teenage years. The book transitions between skating around Southern California’s San Gabriel Valley and Inland Empire and skating the streets of San Francisco and Berkeley. He also looks at how much has changed since he began.

“In the wake of all these new skate parks that have developed over the past 20 years, these kids are so good out of the gate. The baseline barometer of what is considered proficient in skateboarding today is what we would consider pro in the ’90s,” He said.

The book provides insight into what it’s like for kids skating out of suburbia to find themselves – or other like-minded skaters who are also exploring the freedom the board bestows.

“You’re so bound to a car, and skateboarding gives you a vehicle, metaphorically and literally, to re-explore your world,” he said. “Growing up in the suburbs, things can get very dull, very quick, and skateboarding allows you to reenergize and reimagine an environment.”

That reimagining can be literal, such as turning an empty industrial space into a landscape bursting with creative possibilities. “It’s turning a loading dock into a skatepark,” says Vadi.

The essays also illustrate the impact that skating had on popular culture, touching on MTV, skating publications such as Thrasher Magazine, and videotapes of riders that got passed around skating scenes and shops around the country.

Music also plays a large role in the book. Vadi writes about how skating incorporated punk, hip-hop, heavy metal, and other genres that helped redefine its culture. In one essay, he investigates the connections between jazz and skating, arguing that the musician and composer known as Sun Ra is a skater despite never stepping on a board.

“If I’m writing through skateboarder’s lens and am really going to try to own that perspective, it has to be inclusive of as much of those different strands as possible,” he said.

As much as the book is about skating, it also reminds readers of the beauty in the documentation of ourselves and the interests we acquire through our lived experiences.

“I feel like ‘Chipped’ is a redocumentation by way of articulation,” he said. “It reflects this larger need to document … and to articulate the many ways that this thing that we care about can impact someone.”

“The point is not to be better than anyone else, or to necessarily compete,” he said. “The point is to enjoy the act itself and in comradery with others.”

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Manchester City planning move for Bayern Munich's Jamal Musiala - Paper Talk

Plus: Arsenal want a striker and a winger in the summer after being knocked out of the Champions League; Gunners goalkeeper Aaron Ramsdale is attracting interest from Chelsea and Newcastle; Ivan Toney is hoping to earn more than Bruno Fernandes if he joins Manchester United this summer

Friday 19 April 2024 07:24, UK

The top stories and transfer rumours from Friday's newspapers...

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Manchester City are planning a big push to sign Bayern Munich's Jamal Musiala this summer. Pep Guardiola wants more options in attacking midfield and Musiala is emerging as his top target.

Arsenal are targeting a striker and winger in the summer to strengthen Mikel Arteta's squad after their hopes of reaching a first Champions League semi-final since 2009 were ended by Bayern Munich.

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Former Australia cricket captain Meg Lanning struggled with "an unhealthy relationship" with exercise and food leading up to her shock retirement.

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Barcelona have been fined £21,500 by Uefa for Nazi salutes and monkey gestures made by fans at their Champions League game away to Paris Saint-Germain last week.

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Dundee are considering an appeal after being handed a £186,000 fine - most of which is suspended - following a disciplinary hearing over their troublesome pitch.

UK Sport, the government agency that provides funding for the British Olympic and Paralympic programme, will have to cut 25 per cent of staff jobs and 50 per cent of its directors by July.

Manchester United are conducting detailed analysis of the stadium projects at Real Madrid and Barcelona, knowing that redeveloping the existing Old Trafford site could be as much as £1 billion cheaper than building a new site.

The chief executive of the ECB has said that the decision not to award Yorkshire a top-tier women's professional team was not "punishing them for past sins."

Aaron Ramsdale has interest from Newcastle and Chelsea, while clubs from abroad are also monitoring his situation at Arsenal.

A chef at Manchester United was left 'sick and confused' after touching a faulty light switch and giving himself an electric shock, while a steward at Chelsea had a pint of beer thrown over his head by a 'helpful' fan after a spark from a burning flare went into his eye.

Gremio winger Gustavo Nunes is among the talent identified as part of a fresh focus on South America, with the Red Devils preparing for their present and future.

Jude Bellingham or Harry Kane will miss England's friendly against Bosnia due to potential involvement in the Champions League final two days before.

England rugby players are growing increasingly concerned about the RFU's hybrid contract scheme.

Nathan Patterson will learn this weekend if his hopes of playing for Scotland at this summer's Euro finals are over.

Liverpool star Alisson's £4.75m house has been put on the market.

Rafa Benitez is the top candidate to take over as manager at Sao Paulo.

Manchester United have made signing a new left-back their top summer priority, according to reports.

Ivan Toney is hoping to earn more than Bruno Fernandes if he joins Manchester United this summer.

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Pep Lijnders could reportedly take Liverpool's entire backroom team with him to Besiktas after offering himself to the Turkish giants.

Manchester United have reportedly locked onto the first signing of the Sir Jim Ratcliffe era as Juventus prepare a succession plan for Gleison Bremer.

Manchester United manager Erik ten Hag has faced further scrutiny over his tactics after former star Andreas Pereira claimed his side were easy to play against this season.

Bastian Schweinsteiger has admitted he wants to see Marcus Rashford play in a better team amid his struggles in Manchester United's latest disastrous season.

Sunday's London Marathon is expected to smash its own charity fundraising record of £66.4m.

DAILY MIRROR

Manchester United are benefitting from a significant financial windfall after Borussia Dortmund triggered another payment for Jadon Sancho by reaching the Champions League semi-final.

Harry Kane warns England team-mate Jude Bellingham he's ready for Champions League "war".

Reece James has declared that his comeback is on and told his fans he will see them soon as he continues his injury rehabilitation.

Kylian Mbappe reportedly sparked a brawl involving 60 people in the tunnel after Paris Saint-Germain beat Barcelona to qualify for the Champions League semi-finals on Tuesday night.

Ilkay Gundogan's wife has added fuel to the fire in defending the Barcelona midfielder after his public criticism of team-mates Ronald Araujo, Joao Cancelo and Robert Lewandowski.

Wembley will ramp up security for the FA Cup semi-finals this weekend - in a dress rehearsal for when it hosts the Champions League final.

THE INDEPENDENT

Aitana Bonmati insisted things "have not changed" for women's footballers in Spain, despite the public attention on issues in the aftermath of Spain's 2023 Women's World Cup victory.

THE TELEGRAPH

Talks on throwing Israel out of world football over its response to the October 7 Hamas terrorist attacks are to be held at Fifa's annual congress next month.

THE SCOTTISH SUN

Dundee are seeking legal advice after being hammered by the SPFL over their recent Dens Park pitch woes.

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