my favourite app youtube essay

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YouTube as My Favorite Media Platform

In the constantly changing reality of the modern world, numerous forms of media allow people to communicate and share all types of information. Mass media is changing all the time, and there are different ways to define its forms. They can be divided into traditional (television, radio, books, newspapers, etc.) and new (websites, podcasts, social networks, blogs, video, and music sharing platforms, etc.) forms of media (“What Are Types of Media?”). In my opinion, YouTube is currently one of the best media platforms. Even though the use of YouTube is often considered to have many negative effects, it is my favorite form of media because I have learned to use it as an educational tool.

Many people consider YouTube to be harmful, claiming that it is full of useless information, which poses a special danger to the minds of children and teenagers. It is believed that the way this platform works can make one spend too much time watching videos that they do not intend to watch but get distracted and eventually lose several hours doing it. Furthermore, studies have revealed the connection between the compulsive use of YouTube and mental health problems, such as depression and social anxiety (De Bérail et al.). Nevertheless, the question of whether YouTube should be seen as the ultimate evil might need further consideration.

On the one hand, the compulsive use of this platform does have the potential to reduce its users’ mental well-being and physical health. This is due to its addictive features: “the videos provide us with relevant information that stimulates a dopamine response” (“How YouTube is Addictive”). On the other hand, this is what all of the streaming platforms and social networks do. Although YouTube might currently be one of the most addictive Internet platforms, countless sources can be just as addictive if only one starts to use them excessively.

Therefore, I do not consider YouTube to be harmful or dangerous by itself; moreover, it is my favorite form of media. Firstly, it is a great learning tool for me because I am a visual learner and find it easier to watch a video on a topic than to read about it. I think that YouTube is the platform with the most interesting and original educational content that has ever been created. Courses on history, philosophy, and many other subjects are available to anyone, and that seems truly astonishing to me. Secondly, it has introduced me to so many creative people, which also helped develop my own creativity.

In spite of my fondness for this platform, I was not always able to only use its advantages. While I have admired them from the beginning, I also used to spend too much time watching videos that had no value to me. However, after losing those precious hours, I often got so frustrated that I finally decided to limit my time on YouTube and only watch videos on education, art, science, and everything that intellectually stimulates me.

Drawing on my personal experience, I came to the conclusion that YouTube is the best type of media to use both for educational and leisure purposes. Although some criticize it for being addictive and damaging, I believe that it is the way people use it that makes all the difference. It might be worth focusing on developing one’s inner discipline and self-control in order to use all the benefits of YouTube and other media.

Works Cited

De Bérail, Pierre, et al. “The relations between YouTube addiction, social anxiety and parasocial relationships with YouTubers: A moderated-mediation model based on a cognitive-behavioral framework.” Computers in Human Behavior , vol. 99, 2019, pp. 190-204.

“How YouTube is Addictive.” Medium , Web.

“What Are the Different Types of Media?” Marketing Analytics and Social Media Reporting | Whatagraph , Web.

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Social Media: YouTube essay

Today, social media play an increasingly more important role in the life of society because users spend a lot of time online and they view social media as an important source of information about issues which users are concerned with. YouTube, being one of the mainstream social media, allows users to share their videos online, create their channels and, thus, create their virtual communities united by common interests. YouTube also becomes a tool of the promotion of individuals and ideas because users can use the social media to promote themselves and their ideas. In such a situation, the distinct feature of YouTube is its performativity because users publishing their videos on YouTube focus on their performativity. Otherwise, they will not attract many users and become virtually useless for other users of YouTube but the authors of those videos (Lombe & Ssewamala 39). Hence, the performativity is not only the distinct feature of YouTube but also an essential condition of success of videos published on YouTube, whereas the public grows too concerned with the performativity that often leads to the failure of the audience to notice really significant and important issues, while perfomrability become prior to the cultural and social value of videos and messages published on YouTube. In such a way, the performativity of YouTube has a dubious effect, since, on the one hand, YouTube performativity makes it attractive and powerful social media allowing sharing visual data by users worldwide, while, on the other hand, YouTube performativity has a de structive impact on the existing legal and socio-cultural or ethical norms because often data published on YouTube violate basic rights, such as privacy or copyright, and offend existing ethical norms.

At the same time, social media became generators of the mainstream culture and new trends. In this regard, it is worth mentioning the fact that the development of social media, like YouTube, opens new opportunities for the development of virtual social communities united by their common interests. Users spend more and more time online developing their virtual social relations online. Social media become an important part of their life and virtual communities created with the help of and within social media play an important part in the development of socio-cultural norms and standards that affect the development of basic ethical and cultural norms of people and influence their lifestyle substantially.

YouTube has become a highly influential media which is extremely popular among users worldwide. Today, YouTube has millions or even billions of users worldwide. This is one of the most popular social media along with FaceBook, Twitter and others. The popularity of YouTube is closely intertwined with the publishing opportunity offered by the social media because users can publish their videos both documentary and featured ones. In such a way, users get ample opportunities to share their videos instantly. At the same time, the distinct feature of YouTube is its perfomrability because it is the performativity of videos that attracts users and the more performable a video is the more users will watch it, the more popular it becomes.

Even though YouTube focuses on sharing videos mainly, the social media still opens wide opportunities for users to share their creative ideas and make them performable. Users may be driven by different concerns, while publishing their videos and sharing information with others. Some of them may be willing to publishing some interesting facts recorded by them in the real world, while others manifest their creativity with the help of YouTube.

YouTube allows watching diverse videos and channels which may vary in their content. However, the popularity of videos determines their availability to the audience that influences the perception of information by the audience. For instance, the video that has the highest number of views becomes more and more popular and becomes mainstream, even though in its essence the video may have little cultural value or poor messages (Warr 291). In fact, the point is to make videos performable. The overwhelming majority of users publishing their videos on YouTube are concerned with the popularity of their videos than their content. Such a competition encourages users to focus on performativity of their videos above all.

What makes YouTube really popular and mainstream social media is its performativity because the audience receive what it wants and expects from the media, the performance, the show and entertainment with the possibility of the further communication and even interaction with other users of YouTube. For instance, users publishing the video on YouTube may expect the positive feedback from other users. If they receive a negative feedback, they may become interested in creating a new video to match the public interests. In such a way, videos become more and more performable to gain the positive feedback from the part of other users watching them on YouTube.

However, often the quantity of views determines the popularity of videos in YouTube and users erroneously associate the quality of the video with the number of views. In other words, they may believe that if the video has a large number of views, than it is good and mainstream.

Furthermore, users can leave comments after the video that also contributes to the formation of specific ideas because users may conduct disputes as they leave their comments.

Furthermore, videos published on YouTube may encourage users to publish their video responses that contribute to the further attraction of the users’ attention to the issue that has become the subject of controversy or dispute between users.

The popularity of YouTube is, to a significant extent, determined by the interest of the audience in visual information. In fact, it is not the interest proper. To put it more precisely, users prefer YouTube because this social media provides them with visual messages which are preferable for the public than print messages for instance (Warr 290). As people perceive the information about the surrounding world with the help of vision, they naturally choose YouTube in place of other social media because they have an opportunity to receive visual information that facilitates their perception of messages conveyed via YouTube.

At the same time, it is necessary to take the commercial background and opportunities offered by YouTube to its users. For instance, users can benefit from the cooperation with advertisers but they need to make their videos and channels popular to attract more advertisers. In such a way, YouTube offers business opportunities for users that stimulates the development of diverse channels to meet current demands of the public or create new ones.

Social Media: YouTube essay part 2

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Blog > Common App , Essay Examples , Personal Statement > 12 Common App Essay Examples (Graded by Former Admissions Officers)

12 Common App Essay Examples (Graded by Former Admissions Officers)

Admissions officer reviewed by Ben Bousquet, M.Ed Former Vanderbilt University

Written by Alex McNeil, MA Admissions Consultant

Key Takeaway

Want to know the secret sauce behind the best Common App essays our students have written? Examples. The best writers aren't gifted with natural talent— they build talent through imitation .

When I was applying to graduate programs in writing, I had to learn how to write a 15-page literary short story, something I'd never done before. 

To do that, I turned to examples from the great short story writers of American literature. I absorbed what they did (and didn't do) and took notes. Slowly, I got better—until I could write a passable story. 

You're on this post for the same reason — to learn how to write a great Common App essay by imitation, by looking at other essays. 

We’ve compiled some of our favorite college essays for you to read. Our team of former admissions officers has commented on and graded every single essay to guide you through what works (and doesn’t).

Let’s start by looking at an example to get a feel for what you're going for.

Example #1: My Shape

This essay example comes from the Essay Academy , our digital college essay course. It has a really unique structure and uses shapes as a metaphor. It's also written in response to Common App Prompt #2. 

It may seem counterintuitive, but college essays aren’t about showing only showing successes. There’s also room for showing growth. Of course, you want your Common App essay to ultimately communicate a strength about you, but it’s okay to show vulnerability and humility—just like this student does. At the beginning of the essay, we see them start to struggle: their strategy breaks down, and they detail a period of their life when they struggled to keep up.

But by the end of the essay, our writer has found their way. They’ve found new strategies and are more sure of who they are now—a gateway. The writer doesn’t dwell on their struggles. They use the struggles to show growth, adaptability, and strength.

(Want to see more video examples and get personalized application and essay advice?   Let’s work together. )

With that example in mind, let's take a look at the Common App prompts, and then we'll get into even more examples. 

The 2024-2025 Common Application Essay Prompts

First, we should start out by looking at the Common Application essay prompts. Sometimes the prompts change slightly from year to year, but they tend to remain fairly similar.

The Common App essay prompts are just that. Prompts. They prompt you to write an essay by giving you a place to start. They ask questions to help you reflect on important moments in your life. You only have to choose one prompt to answer.

Here they are, listed in the order provided by the Common App:

• Some students have a background, identity, interest, or talent that is so meaningful they believe their application would be incomplete without it. If this sounds like you, then please share your story.
• 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?
• Reflect on a time when you questioned or challenged a belief or idea. What prompted your thinking? What was the outcome?
• Reflect on something that someone has done for you that has made you happy or thankful in a surprising way. How has this gratitude affected or motivated you?
• Discuss an accomplishment, event, or realization that sparked a period of personal growth and a new understanding of yourself or others.
• Describe a topic, idea, or concept you find so engaging that it makes you lose all track of time. Why does it captivate you? What or who do you turn to when you want to learn more?
• Share an essay on any topic of your choice. It can be one you've already written, one that responds to a different prompt, or one of your own design.

The prompts cover a range of topics that’s broad enough to let you write about just about anything.

But let us let you in on a little secret: how you answer the Common Application prompt matters less than the quality of the essay you write. After all, you can always choose the open-ended Prompt #7 option.

So our advice is to start with the essay and then choose a prompt to fit. Identifying a topic that resonates with you, regardless of the prompt, will produce the best essay possible. (And if you need some guidance about how to choose a Common App essay topic, check out our college essay writing guide .)

3 Tips for Writing Your Common Application Essay

Overall, your Common App essay should be the centerpiece of your college application. It should work to tie together your cohesive application narrative , and it should give admissions officers a genuine sense of who you are. Let's take a look at a few specific tips for writing a good Common App essay.

Write about a meaningful topic.

Think about the purpose of a Common App essay. It’s really your one chance to communicate directly with your admissions officers. Sure, your application has all your grades and classes and activities, but none of those things is actually you. The Common App essay exists so you can tell admissions officers information they can’t find anywhere else in your application. Think of it like a poetic introduction to who you are. Because you only have 650 words to make your impression, your essay should get straight to it. Choose a topic that reflects something deeply meaningful to who you are.

Write about a strength.

If your Common App essay is like an introduction, then you also want to make a good impression. That means that your essay should communicate one of your core strengths . Maybe you're the most compassionate person in the world. Maybe you’re so inventive that you can make anything out of a paperclip and a rock. Or maybe you’re so wise that everyone comes to you for advice. Whatever strength makes you who you are, let it shine through in your Common Application essay.

Pay attention to the structure of your essay.

As you’ll see in the “Bad” Common App Essay Examples section below, unorganized essays are hard to read. Admissions officers read hundreds to thousands of applications in a single year, so they go through them fast. That means that your essay needs to grab their attention and easily guide them through your narrative. Try your best to organize your ideas in a way that logically draws your reader through the story you’re telling.

Now keep those tips in mind as we go through each of these example essays.

Best Common App Essay Examples

There’s no single correct way to write a Common App essay, but the best ones grab your attention and keep it. They raise interesting questions, stories, and solutions. Writers reflect meaningfully on important topics, and they do so with a kind of elegance that’s hard to pinpoint. Writers use specific details and examples to set the scene. The best essays have narratives cohere perfectly and guide readers seamlessly through the story at hand.

Reading outstanding Common App essays can help you know what to aim for. Not every winning Common App essay has to look like the ones in this section, but they’ll give you a place to get started.

In particular, take note of the admissions officers’ comments and begin thinking about how you can apply these lessons to your own Common App essay.

Example #2: Board Game Family

Common App Prompt #1

“Professor Plum in the kitchen with the candlestick!”(( Opening with dialogue can be a risky choice, especially if it distracts the reader instead of drawing them in. But this essay uses opening dialogue as an effective hook to compel the reader to read on.)) My sister triumphed. I begrudgingly set down my clue tracker and opened the CONFIDENTIAL envelope. Indeed, her theory was correct. The thing about growing up in a board game family is that you quickly learn how to be a sore loser. In my home, countless sibling wars have been waged over an unjust hand of Gin Rummy or an out-of-bounds toe in Twister. But what I lack in sibling sportsmanship I make up for in wits. Playing board games with my family has taught me that the key to winning any game is resilience, sound strategy, and a little bit of charm(( This introduction has some fun language. And with this sentence, the writer gets straight to the heart of their essay. )) .

Candy Land was my gateway game, and it remains one of my favorites to play with my younger siblings. The game itself is simple: pick a card and move to the corresponding color on the board. First one to King Candy’s Castle wins. But, like life, the journey to the castle is full of setbacks. One unlucky draw, and you’ll lose half your progress. Having made many journeys up Candy Mountain, I grew accustomed to these setbacks. As I entered high school, I began facing real-world roadblocks that threatened to send me ten steps backward. My family moved towns, and the transition proved difficult. I felt behind in the new curriculum and lonely at a new school. Establishing a Board Game club helped me find friends and start my journey back toward Candy Castle.

As I grew older, I gravitated toward more difficult games like Risk. Unlike Candy Land, Risk requires strategy. Sure, randomly conquering territories might get you somewhere, but I learned that the most successful crusades are those that feature careful planning. Risk takes up our entire kitchen table, and we’ll play for hours at a time. My brother and I like to establish secret ententes. With whispered asides and unnoticed bathroom breaks, we work together to ensure victory. And when something doesn’t go our way, we revise our strategy and prepare for the next round. Risk isn’t just about taking risks–it’s about learning when to act, what to do, and who to align yourself with. It’s a lesson that applies to life outside the kitchen table, too.

While I’ve learned from every game I’ve played, the most impactful has been Scrabble(( This excerpt shows great personality, reflection, and personal growth.)) . When I started studying for the SATs, my family took up Scrabble. At first, Scrabble almost broke us. Dictionaries were slammed shut, points miscalculated, and tiles mysteriously lost. But with each new game, the board set anew, we remembered our mission: to help me practice vocabulary. With this fresh perspective, we began to work together. Instead of playing to win, we played to challenge each other and ourselves. For every non-word word I put on the board, I had to plead my case. Arguments like “Ahot” is synonymous with cold because of the root “a,” meaning “without” and “Truc” is a fun French word that we should have anglicized a long time ago anyway earned me both eyerolls and points. The more charming I was, the more sound my defense became, and the more likely my family was to concede. Together, we made our own rules and unforgettable memories.

I’ve summited Candy Mountain thousands of times and founded more countries than I can count. Our Scrabble games don’t look like everyone else’s, but these moments around my kitchen table, filled with laughter and rivalries, white lies and trusted alliances, are ones I will always cherish. They have made me into the thoughtful and strategic person I am today. More importantly, they’ve taught me that there’s a lot to learn when you’re having fun(( The writer concludes with this intentional reflection that leaves no question in the reader’s mind about what the main takeaway from the essay should be.)) .

AO Notes on Board Game Family

This essay takes a fun topic, board games, and turns it into a fun college essay. Most importantly, the writer doesn’t spend too much time focusing on the games themselves. Instead, they use the games as a way to talk about themself. That’s the key in an essay like this.

Why this essay stands out:

• Humor: We get a strong sense of the writer’s personality through their humor. It’s okay to show some personality in your college essays!
• Meaning : Through each of these stories, we learn a lot about the writer’s family background. There’s a clear picture of what their home looked like growing up, so we can easily see how they developed into who they are today.
• Action steps: The writer doesn’t just describe fun family game nights. They explicitly connect these game nights to their determination as a player, sibling, and student. We see the steps they took to make new friends, win alongside their brother, and study for the SATs.

Example #3: The Bowl That Taught Me Not to Quit

Common App Prompt #2

The clay felt cold against my skin as my knees hugged the wheel for dear life(( With this opening, we jump right into the writer’s emotions. They don’t have to tell us explicitly what they’re feeling—we can feel that they are anxious from their description alone. It’s a wonderful example of “show, not tell.”)) . Don’t. Fall. Over. I begged the clay to stay put. In the back of my mind, I heard the instructor saying, “The clay will mirror what you do. If you are steady, the clay will be steady.” I planted my feet firmly on the floor and stared my bowl-to-be dead in the eye.

My journey as a ceramicist began as many journeys do: with a scolding from my mother. She said that I was wasting my summer. I needed a hobby. Flipping through the community center catalog, my gaze landed on Ceramics 101: Beginners. I decided to take on the wheel.

Soon, I was captivated. For the last three thousand years, ceramicists have been throwing clay to create pottery that is quicker to make and more reliable than hand-crafted pottery. This past summer, as I developed my pottery skills, I learned about more than clay. I learned about myself.

To start any project, there’s the matter of choosing which clay to use. When it came time for my first throw, I chose stoneware clay for its durability. I grabbed a slab, dabbed it with water, and tossed it on the wheel, just as the teacher had instructed. My foot gently pressed the wheel’s pedal, a vehicle for which I was certainly not licensed. Covered in wet clay, I pressed my hands against the slab, trying to shape it. But it wobbled(( And here we have the main conflict: things did not go as expected. As readers, we ask ourselves: what will the writer do now?)) . It spun completely out of control. I had clay in my hair and up my sleeves. My project, it seemed, was already ruined.

While I didn’t expect to be a ceramics savant, I did expect to make it through the first class without a mud bath. I felt like a failure as I watched all the other students, whose clay was taking shape on gracefully spinning wheels. I was embarrassed. I wanted to quit. And I was used to quitting, having never been able to hold down an extracurricular activity throughout high school(( With this simple sentence, we learn that the writer has struggled with overcoming challenges in the past. )) . Cutting my losses would be quicker than cleaning the clay from my clothes, so I began to wipe off my hands and pack up my things. The instructor approached me, explaining that what had just happened was perfectly normal. She urged me to try again. I didn’t want to, but her presence made me stay.

For the rest of the class, the instructor hovered by my wheel. She was ready to lend a hand when necessary. She was my safety net, and I felt more confident to continue. I squeezed my clay out and down with the care of a first-time mom. It began to look more like a bowl and less like a mound of dirt. As I watched the bowl come into being, I felt tears prick my eyes. I felt silly for crying at something so simple, but it wasn’t so simple after all. A bowl materialized from my bare hands, all because I didn’t quit.

Quitting(( This paragraph has wonderful reflection.)) is easy, and I’ve taken the easy road more times than I can count. But it ended the day of that ceramics class. If you leave clay untended, it will dry out and become useless. Before ceramics, I hadn’t been tending to myself. I grew dry, cracking under the weight of any external pressures. But my teacher taught me that a little more persistence, time, and effort can yield something beautiful and useful.

When my bowl was done, I carried it to the shelf to be fired. The instructor explained that she’d put our projects in the kiln, and we could pick them up at our next class. I returned the following week and saw my bowl sitting on my wheel. It was imperfect but sturdy, messy yet intricate. It was exactly right. I set it aside and grabbed another block of clay, foot hovering over the pedal(( This conclusion ties up the essay with a bow. It calls back to the beginning and emphasizes that the writer will keep overcoming whatever obstacles arise.)) .

AO Notes on The Bowl that Taught Me Not to Quit

In this essay, the writer goes on a journey learning to do ceramics. We see that they experience failure but can learn from it. Their strengths of creativity and resilience shine through.

• Positive spin: Writing college essays about challenges is difficult because it’s easy to get wrapped up in hardship. But this essay does a great job moving on from the failure and focusing on the lessons learned.
• Explaining an underwhelming resume: It happens so quickly that you might miss it if you blink, but this writer very subtly explains why they don’t have many resume items . Accounting for an insufficient resume in this way comes across as taking responsibility rather than making excuses. We also see that the writer has learned from these challenges and is moving forward in a new direction.

Example #4: ENFP

Common App Prompt #6

“You know how whenever you want to plan out your weekend there are too many fun things to do and too many people to do them with? And how it’s impossible to commit to doing anything next Saturday, let alone next month? What if something even more exciting comes up? Ugh!”

“I have literally no idea what you’re talking about. That sounds stressful.”

My friend’s response confused me.

“Stressful!? It’s fun! And stressful. But mostly fun.”

We’ve all had realizations that remind us we are not the same as the people around us(( After that fun introduction, this sentence brings our attention directly to the main point of the essay.)) . Our brains and our tendencies are ours, and they aren’t necessarily shared by others–even close friends and family.

This conversation was one of those times. I was a sophomore and truly did not consider that my peers would follow routines, carefully planning out their weekends while I relied on vibes, group texts, and parental reminders of homework to get me through. Every day is a new experience and I wake up energized for the excitement of a new beginning. Fun, right?

Apparently, some people find my way stressful.

The first week of junior year, my English teacher surprised us with a test. Not an academic one–she administered the Myers Briggs Type Indicator. I didn’t know what that meant, but she explained it was a personality assessment. Then she looked directly at me and pointed.

“YOU! YOU are an ENFP!”

I’d been called a lot of things, but this was a new one. She was absolutely certain that this string of meaningless letters described me. As if anyone could possibly define me!

Sure enough, I took the assessment and got my results. E-N-F-P. Extraverted-iNtuitive-Feeling-Perceiving. I learned that each variable was one of two possibilities that describe people’s preferences about how they interact with their external and internal world. Each person exists on a spectrum between each set of variables.

I was pretty extreme on all four. Suddenly, I understood why people said I had a “big personality”.

This was just the start of my journey into psychology to better understand myself and others(( This paragraph ties together the personality test story with the writer’s personal journey of seeing the world through new perspectives.)) . I knew I was an extrovert–that was the easy one. But now I felt like I had language to explain why my arguments in debate were naturally grounded in emotion (common for Feeling types) rather than the data of a Thinker. I understood why my Judgment (J, rather than P) friends couldn’t stand my inability to commit to a plan. I needed to Perceive all of my options before committing to just one of them.

I delved into writers, psychologists, and researchers like Adam Grant, Dan Pink, Malcolm Gladwell, and Gretchen Rubin. I even embraced my own (very ENFP) preference to listen to their audiobooks rather than read in quiet solitude. I listen to books with one ear bud in while walking around my small town. That way I can learn while staying open to meeting a new friend, stopping by a shop, or petting a cute dog.

My INTJ friend didn’t understand how I could listen to a book while actively striking up conversations with strangers. To each their own.

Part of learning about myself was understanding that I love to learn about how people think and form habits. What works for one person doesn’t necessarily work for another. That is true for planning a weekend, maintaining relationships, or even writing a college essay.

I want to study psychology (and about 100 other subjects) and create a career where I can help people understand themselves and build positive habits around who they are(( I like how the writer connects these relations to their academic and career goals.)) , rather than try to change themselves to fit the expectations of others. Sure, maybe that will lead me to become a psychologist. But I think teachers, doctors, writers, and business leaders have an opportunity to do this as well.

All I know for sure is that, just like each new day, college is the next adventure. I’m excited to see what happens.

AO Notes on ENFP

Most of us know about personality tests, but this writer is able to make the topic a deeply personal one. We learn about their personality and habits. We learn about how they interact with others. Overall, the topic really helps us see the world from their perspective.

• Creative topic: The topic itself isn’t one an admissions officer will see every day. But it’s not so out-there that it comes across as hokey.
• Perspective: Admissions officers appreciate when students can see the world from perspectives other than their own. This writer shows a lot of maturity when explaining how their personality test sparked a realization that they don’t see the world the same way their friends do.
• Connections to future goals: The writer doesn’t just present the topic without speaking to its greater meaning. They show that personality tests are meaningful to them because they are related to an academic interest in psychology.

Example #5: Warhammer 40k Miniatures

Carefully(( This introduction has great vivid language.)) dipping the microscopic end of my horse hair brush into the pot of citadel paint, I can feel my excitement building. Gunmetal grey—my favorite primer color. Next comes the white and gold highlights that edge the armor. I'm about to bring one of my favorite Orcs to life, adding tactful details and shading to his green skin and menacing scowl. This is my passion, my obsession: painting Warhammer 40k miniatures.

Now, I’m well aware of the reputation Warhammer has—nerdy. As a tabletop miniature war game set in a dystopian future(( The writer subtly explains this hobby just in case admissions officers aren’t familiar with it.)) , players collect and paint miniatures to represent their armies. They then battle it out on a tabletop strewn with miniature trees, structures, and other terrains. I've been a fan of the game for years, but it's the painting that I love most. There’s something about taking a tiny, unpainted model and turning it into a work of art that I find incredibly satisfying. Nerd, guilty as charged.

I've always been drawn to the Orcs in particular, with their sheer strength and ferocity. But lately, I've been getting more into the Necrons, these ancient, robotic warriors that have been resurrected after millions of years of dormancy. And let's not forget the noble Tau, with their advanced technology and futuristic design. The story of each people goes deep, too. There are dozens of books written about the broader universe of Warhammer—a shared world that spans tens of thousands of years of lore. I’ve read almost every one of them. No matter the character I’m painting, no matter the story they’ll take place in, I watch in awe as each brushstroke brings the character to life in front of my eyes.

As my obsession with miniature painting has grown, I've started entering painting competitions(( This detail shows the magnitude and impact of the activity.)) . It's nerve-wracking showing off my work to a panel of judges, but it's also incredibly rewarding when they appreciate my hard work. I’ve received accolades and even small prizes for my artistry. After every competition, I choose my favorite miniature to display on a shelf in my room. I still have some of the earliest miniatures on my shelf, looking a little rough around the edges but still serving as a reminder of where I started.

But painting miniatures isn't just a hobby for me; it's also been a gateway for other forms of art. I've started dabbling in oil painting, using the same attention to detail and skillful brushwork that I use on my miniatures. While making the transition to a new medium has been challenging, I’ve slowly I’ve built a small collection of paintings. Some of them are as epic as my miniatures—depictions of battles and important moments from the 40k universe. But others are more tranquil, like a recent landscape I painted for my mom’s birthday of the stream behind our house(( We also learn how the writer’s obsession has expanded to other areas of their life. I like this detail because it’s an endearing story of the writer making art for their mom.)) . Becoming more dynamic with my art has made me a better artist, which has in turn made my miniatures even more lifelike.

Warhammer has been the biggest portal into a world of imagination and creativity. But it’s also unlocked my belief in myself as someone capable of succeeding in art(( And here it is—a central point of the essay. Painting these miniatures isn’t just about the miniatures. It’s also about the writer’s growth as an artist.)) . I’ve transcended the level of hobbyist and, over the years I’ve been painting, I’ve learned to call myself an artist. That title is a lot to carry, but it’s one that I can’t wait to continue growing into, figure by figure, painting by painting. And I can’t wait to bring the world of 40k to my dorm—sharing the universe with my friends and classmates. You’ll know where to find me. Just look for the nerdy artist with the dense wooden play table, toting around an army of skeletal warriors and hulking orcs. I can’t wait to share my world with you.

AO Notes on Warhammer 40k Miniatures

This essay is a great example of how to write about a hobby in a college essay. Notice how the writer explains their hobby in vivid detail, but the core of the essay is still about the writer themself.

• Vivid details: Personal statements can be wonderful exercises in creative writing. While that can be difficult for some students, this writer did it exactly right.
• Narrative structure: The writer seamlessly transitions readers between each paragraph. They slowly reveal how their journey has progressed. And, most importantly, they incorporate loads of good reflection.
• Personal meaning: It’s clear that Warhammer itself is meaningful to the writer. But I also like how they draw the focus inward to discuss how painting miniatures “unlocked” a belief in themself.

Example #6: The Band

Common App Prompt #5

I always imagined my band’s first show would take place on a stage. Maybe not in front of a packed amphitheater, but a stage. One with lights, a sound system, a curtain behind it, and some mixture of friends, family, and strangers ready to hear us play.

But there I was, holding a guitar in the women’s section of JC Penney at the mall(( This sentence is so unexpected that it’s sure to make most admissions officers stop, do a double take, and chuckle.)) . We fumbled through a cover of “Mr. Brightside” while middle-aged women shopped for sundresses.

Not exactly what I had in mind.

Our drummer’s mom managed the shoe section at JC Penney and said her boss wanted a creative way to get younger people excited about shopping there. She suggested that her son’s band would be perfect for this opportunity. They paid us in pizza and asked us to perform for two hours–a tall order for four high school sophomores who knew about five and a half songs.

It wasn’t evident to us that we would learn anything from our musical endeavors, or that our music would take us beyond the local mall. I’ve always known writing and performing pop-rock songs isn’t a likely career path. But a recent late night conversation with my bandmates-turned-best-friends showed us all how much we have grown and learned through music(( This reflection is great.)) . What started as a way to spend time with friends on a hobby turned into an accidental entrepreneurial venture and surprisingly poignant lessons.

For one thing, writing music with others is hard. Getting four new musicians to agree on everything from tempo to lyrics to how many verses each song should have isn’t easy. We figured it out as we went along, fueled by copious amounts of Mountain Dew and Bagel Bites.

We eventually created a system where each member learned the lyrics to each song and at least one other person’s part. Sharing original lyrics–poetry–between friends is uncomfortable. But we became more cohesive once everyone was on the same page with the story we were telling. When the bass player, who can’t play drums, learned just enough to understand that the kick drum hits on beats 1 and 3 and the snare on the 2 and 4, our rhythm section began to play more in sync. Once our drummer got over his fear of singing, we were able to incorporate simple harmonies, which led to him improving our lyrics.

Most surprising was making money and feeling like we were running a small (very small) business(( By expanding the focus to talk about music as a business venture, the writer also shows the extent of their activity’s impact.)) . Our second show after the infamous JC Penney incident was a battle of the bands at the public pool that June. We placed fourth–no prize. By August, we played another battle of the bands and won first place, largely thanks to our efforts to publicize the event to everyone in our network (some might call it begging our friends to come). To our surprise, we won $800 on one of those comically large checks.

We decided to allocate some of the money to equipment we needed–cables, cymbal stands, and more Bagel Bites–and put the rest towards professional recording. The process of contacting local studios, negotiating rates, and working with professionals in the industry was completely new to all of us.

A year before, we thought agreeing on lyrics was tough. But the sonic experience of hearing your own music back and agreeing on the tone and effects of every instrument can bring out differences you didn’t know existed. I’d read about arguments between bands from the Beatles to Kings of Leon, and now the four of us had to work out our differences together in real time. Thankfully, we navigated that challenge without losing our sanity for more than a few brief moments.

I am grateful for the lessons we have learned over the past three years(( And with this conclusion, the writer really drives home the essay’s main theme.)) . Not only do we have music and memories to show for our efforts, but we have all learned about creative collaboration, budgeting, and marketing our art.

AO Notes on The Band

This essay makes me want to sing! It’s full of personality, but it still manages to be vulnerable and reflective. By the conclusion , we really see what the writer has learned from being in a band.

• Humor: The writer immediately draws us in with an introduction that is funny, surprising, and full of personality. The introduction alone makes me want to keep reading. And right as we’re through the introduction, the writer drives home their main point: they learned a lot through music. Then, to our delight, the humor continues throughout. It’s subtle enough to keep our attention and not be overwhelming or inauthentic.
• Strengths: I can see that the writer is very collaborative and entrepreneurial. I also like how they give insight into their relationship with their friends and bandmates—we learn a lot about them through their interactions with others.
• Accomplishments: This essay is a solid example of how to write about accomplishments in a personal and meaningful way. The writer could have just opened with the accomplishments, but that wouldn’t have been very interesting or vulnerable. By nesting those accomplishments within a broader story about music, the writer is able to convey greater meaning.

Good Common App Essay Examples

If you’re feeling intimated by all the outstanding essays you’ve seen online, fear not. You don’t have to have a Pulitzer to get into college.

What you do need is a good, meaningful essay, even if it’s not perfect. The essays in this section represent what the majority of Common App essays look like. They aren’t necessarily perfect, but they’re written strategically and with verve. You can tell that their writers genuinely care about the essay they’ve been tasked with.

Putting in a similar effort with your own Common App essay will get you far. Let’s take a look.

Example #7: Herb

I stood in the dimly lit garage, staring at the child-sized pile of metal and wires in front of me. I couldn't help but feel a sense of awe. This was our creation(( This introduction reveals the product of the journey the writer is about to go on: building a robot.)) , a robot that my father and I had spent months designing and building with meticulous care.

It all started on a slow Sunday afternoon, when my dad suggested we take on a new project. He wanted to build a robot. At first, I was hesitant. I was skeptical that we had the know-how to even construct the body of the robot, much less one that actually worked. But my dad, a tinkerer and inventor, was determined to try. So we got everything set up in the garage and got to work. As it turns out, building a robot wouldn’t just improve our technical abilities. It would bring us closer together along the way.

Before this project, my dad and I tended to argue and disagree(( I appreciate this clear transition and description of the “before” state that the writer and their father are growing from.)) . But in the garage with our robot materials, we were both so invested in building the robot that we collaborated perfectly. We bounced ideas off each other, read books and online forums, and even got advice from friends who were more experienced in robotics. For what seemed like the first time, my dad thought of me as an equal. Usually I was just there to hand him wrenches and screwdrivers as he worked on his latest creation. This time was different. We were a team. And with each passing day, our robot began to come alive.

We spent months in the garage, building and troubleshooting. My dad worked on the mechanics. He carefully assembled the joints and servos that would give the robot its movement. While he did that, I focused on the design. I drew mock-ups on my iPad and researched different exterior materials to use. I clumsily constructed our prototypes before my dad helped me put all the pieces together.

The final result was a beautiful machine. It was almost four feet tall and towered over our family dog. And it actually worked. The exterior gleamed—the sensors we used added visual flair and extreme function. But the most impressive aspect of our robot was its artificial intelligence system, which we had spent weeks programming and refining together. It was still fairly rudimentary as far as robots go, but we were proud of such a major accomplishment.

We decided to name our creation Herb, after my father’s beloved herb garden. We liked the irony of mixing a machine with a garden. He was perfect.

After working on him for months, it was time to enter Herb into a local show for machine enthusiasts. Our entry was accepted(( This detail also shows the magnitude of their accomplishment.)) . The show will take place next spring, so my dad and I are polishing Herb’s exterior, tweaking bugs that arise in his artificial intelligence, and preparing him for his out-of-garage debut.

While I’m proud that we will finally get to show Herb off to the world, what I’m more proud of is how far my father and I have come. Working on Herb brought us closer together, and the process helped my dad see me as a fellow tinkerer and inventor rather than just an assistant. In our garage, as we constructed something entirely un-human, we found the human in ourselves. Our father-son love came to life through a robot. I wouldn’t trade it for anything(( I really like this poetic conclusion that neatly ties together the essay’s theme.)) .

AO Notes on Herb:

This essay is an endearing story about how the writer’s relationship with their father improved while working on a robot together. We learn a lot about the student and their interests as we accompany them on this journey.

What makes this essay good:

• Organization: There’s some back and forth with narrative and reflection in this essay that gives it a pretty complex structure. But the writer does an awesome job keeping readers on track by using very clear signposting. Phrases like “before this project” and “after working on him for months” help readers navigate the complexity.
• Reflection: The writer incorporates great reflection throughout. The third paragraph shows us the “before state” that the writer is growing from, and by the end of the essay, we really see where they’ve ended up mentally, emotionally, and personally.

What the writer could do to level up:

• More focus on the writer : While this essay isn’t too bad about this, there is some room for improvement. The main descriptive parts of the essay all focus on the robot. We do learn about the writer and their goals through these descriptions. But the essay is approaching being too much about the robot and not enough about the writer.

Example #8: Laughter & Acceptance

"Why was the transgender person so bad at math? Because they always had to trans-late equations!"

Okay, okay, that was a terrible joke. But let me tell you, finding self-acceptance as a transgender person ain't no joke. It's a struggle, a battle, a war. But it's a war that can be won, and I'm here to tell you how(( From the start, we get a clear sense of the writer’s personality. This sentence also tells us exactly what the essay is about.)) .

I grew up in a world that told me being trans was wrong, that it was something to be ashamed of. And I believed it. I tried to hide who I was, to pretend like I was someone else. But it was like trying to fit a square peg into a round hole. It just didn't work.

But then something happened. I don't know what it was—maybe a shift in the universe, maybe a sign from God. But something changed, and I realized that I couldn't keep living a lie. I had to be true to myself, regardless of what misery and consequences that might bring down around my head.

After telling my younger sister, who cried tears of joy and support, bless her, I decided to come out to the rest of my family. Let me tell you, it was not pretty. They didn't understand what I meant. They told me I was going to hell, that I was a disgrace to our family. And it hurt, oh man it hurt. But through the pain I saw a glimmer of something—was that hope?(( The writer does an excellent job reflecting and taking the “more phoenix, less ashes” approach.)) For the first time, I was being honest with myself and with the world. The whips and lashes of my parents’ words were more painful than I could have anticipated, but I left the room with my head held up and a barely-perceptible feeling of lightness around my shoulders.

And that's when the real work began. See, coming out is one thing, but accepting yourself is another. It's not easy, trust me. It's like trying to walk on a tightrope, one wrong step and you're a gonner. But I didn't give up, I kept going.

And you know what? It started to get easier. I started to find people who accepted me for who I was, who supported me and loved me. I started to feel confident in my own skin. And it was a good feeling—a great feeling. The best feeling.

But my life isn’t all sunshine and rainbows. There are still moments every day when I feel down, when the weight of the world feels like it's crushing me. But even in those moments, I've learned to find strength in myself, to remind myself that I am worthy and deserving of love and respect.

And that's what self-acceptance is all about. No one can avoid feeling sad, angry, or frustrated all the time. But if those feelings only crop up now and again? You’re doing pretty good. Most of all, it’s about letting those negative emotions pass when they come, roll over you like a wave before they go on their way. It's about laughing at the absurdity of it all(( With this philosophy, we really see how much the writer has grown.)) , and finding joy and humor in the midst of the pain.

So, dear reader(( Addressing your reader in a college essay is a pretty risky stylistic choice that we would generally advise against.)) , if you're struggling with self-acceptance, you're not alone. I’m there with you. And remember: it's okay to laugh at yourself, to find the humor in the situation. It's not always easy, but it's worth it. Because when you can accept yourself, you can be proud of who you are, and that's something to be truly grateful for. Tell a joke about yourself and laugh it off. You’ll feel better, I promise(( I like these sentiments, but they could be more focused on the writer instead of the reader.)) .

AO Notes on Laughter & Acceptance

This essay does a wonderful job maintaining sight of the writer’s strengths and positivity in light of really tough challenges. The writer isn’t afraid to be vulnerable. Because of that, we learn a lot about them.

• Authenticity : I’d guess that this essay couldn’t have been written by anyone other than its writer. Its voice is so clear and authentic that I truly feel like the writer is talking straight to me. Since Common App essays are one of the only places where you get to speak straight to an admissions officer, authenticity is key.
• Positivity : Let’s face it. This essay is about a really serious topic that was clearly challenging for the writer. But what makes it so great is that in spite of all the challenges, the writer is able to find positivity and light. They don’t dwell on the hardships but look forward to the future. That’s exactly what a college essay about a challenging topic should do.
• Tone : Balancing your personal tone and voice with the conventions of Common App essay writing can be tricky. It’s hard to predict how an admissions officer will react to what you write. Some might love the fact that this essay truly sounds like the student who wrote it, while others might be put off by its informality. The writer could clean up just a few areas of informal language to play it a little safer.

Example #9: The Old iPhone

Common App Prompt #3

I unscrewed the tiny Phillips-head screws and wedged open my iPhone 5. I cringed as the material cracked out of place. Despite my nervousness, I felt curious. I had always been fascinated by technology and machines, but this was the first time I had ever taken apart a device as complex as an iPhone.

And it wasn’t just any iPhone. It was my very first—my most prized possession until I bought my new phone a few months ago. Since then, it had been sitting in the back of my desk drawer, collecting dust and taking up space. I just didn’t have the heart to sell, recycle, or trade it in. On a day when my ADHD was particularly affecting me, I decided to tinker with my phone to calm myself down.

Working with machines and technology had become my biggest strategy for dealing with my ADHD on those difficult days(( This is an excellent transition.)) . I was diagnosed with ADHD when I was thirteen. I’d been struggling to pay attention in class, and my teachers and parents thought it would be best to get me tested. After I started taking medication, my symptoms improved a lot. But the whole process made me feel like something was off about the way my brain worked naturally. That’s why on the days my medication just isn’t cutting it I center myself by playing with machinery and technology. Even though I can’t fully understand my brain, I can understand a machine. Sometimes that knowledge is enough to get me back on track.

At my desk while disassembling the phone, I carefully removed each piece and set them aside on a bathroom hand towel beside me. I felt calm and focused. As someone with ADHD, it can be difficult for me to concentrate on a single task. But with every part I removed, my mind grew more and more focused. I didn’t feel pulled to passing thoughts and distractions like I normally do.

Working on the phone was like meditating. The parts were so small and delicate that it took all of my attention not to lose or break any. As I examined each component, I thought about all the hard work that goes into designing, manufacturing, and selling the millions of iPhones sold each year.

Taking apart the iPhone improved my technical knowledge, but it was more than that. It also helped me to understand my own mind in a new way(( This is an important shift back to the writer’s own experience. If it weren’t here, the essay would be too much about the iPhone and not enough about the writer.)) . While working my way through this small but magnificent machine, I realized that I could think of my own brain as a kind of machine. It has a complex network of circuits and pathways that control my thoughts and actions. It requires energy to work. It is made up of smaller components that allow it to function. I can’t tinker around with my brain, but I can appreciate it for the incredible machine that it is. I just need to learn more about how my brain works and adapt accordingly.

In many ways, my ADHD has always felt like a kind of malfunction, like something is wrong with me. But as I took apart the iPhone, I began to see that even the most advanced technology isn’t perfect—there’s dust and glitches and grime and bugs. And just as Apple does software updates and new product releases to improve the iPhone, I can find ways to improve how I function with my own brain(( With this comment, the essay ends on a very positive and hopeful note—exactly what you want in a college essay. )) .

AO Notes on My Old iPhone

In this essay, the writer describes how tinkering with an iPhone affected their personal journey with ADHD. I especially like how the writer takes two quite different topics and weaves them together seamlessly.

• Creative take: The core of this essay topic is a good one. The writer uses a hobby to talk about a deeper personal topic they’re wrestling with. As a result, we learn quite a bit about both.
• Strengths: We always say that you should write your college essays around core strengths. This writer does exactly that. As readers, we can tell that the writer is a problem-solver. They figured out a way to help themselves when their medication wasn’t working, and they also used that activity to do some reflection.
• Personal meaning: The writer could have just written about how they tinker with machines to help with their ADHD. But they went beyond that. They reflect more deeply on what the experience of having ADHD means to them.
• More connections: This essay is quite good. But as a reader, I’m still left wondering why the writer is drawn to tinkering and machines in the first place. It seems like there is room for the student to write a bit more about how the activity resonates with them personally.

Example #10: My Partner in Music

Built from a dark, mocha-colored wood and strung with the best strings my mom could afford, my viola has been with me through a lot. The first time I held the instrument in my hands, I knew it was made just for me. Sure, my viola had had previous owners. But they were only caring for it until it made its way home. My instrument is who I spend the most time with, who I know the closest, and who I’ve invested so much time in. With my viola, I’ve experienced my greatest accomplishments.

I come from a family of prodders rather than pushers(( This paragraph and the following dive too deeply into the writer’s past without making clear why the information is necessary to the narrative.)) . My loved ones have never pushed me to do anything, but I’ve been prodded in certain directions. At a mere year old, I began swim lessons. At age two, I took up soccer. At two and a half, I experimented with gymnastics. None of those activities ever stuck. But my true calling came at age three when my parents started me on viola lessons.

At first, I struggled to even hold my tiny, almost toy-like viola in place. Barely able to hold my own fork for dinner, I wrestled to place my fingers correctly on the fingerboard. When it was finally time for me to use my bow, it kept falling under its own weight, my small arm not strong enough to balance it.

But I was enthralled by the sounds I was able to make. I watched in awe as my teacher conjured up the most beautiful music I’d ever heard from her instrument. Unlike swimming, soccer, and gymnastics, music made sense to me. The ability to make something so engaging from wood and metal captured my attention.

When I got my new instrument, I had been playing the viola for exactly twelve years. Between the age of three and fifteen, my skills had grown exponentially. All those nights and weekends practicing, the blisters, and the hours and hours of lessons had paid off.

This past year, I earned a spot in the American Youth Symphony, one of the most prestigious youth symphonies in the world(( It’s not until this paragraph that we get to the heart of the essay: the writer’s big accomplishment, and the challenges they overcome to get there.)) . With the symphony’s minimum age of fifteen and average age in the early twenties, I’m one of the youngest musicians in the ensemble.

It wasn’t always so clear that playing viola was my destiny. When I was a sophomore in high school, I auditioned for my regional youth symphony. I had practiced my solo for months. I had played the piece so many times that it practically became part of me. With an imaginary metronome ticking away inside of me, my fingers knew exactly how to race across my strings, and my bow hand followed along in perfect time.

When it came time for my regional orchestra audition, however, the song completely vanished. I walked up to the stage, judges behind a partition. I sat down, brought my viola up to my chin, and froze. What had been muscle memory evaporated into thin air, and I was left with a blank mind and a silent instrument. I panicked, unsure of what to do.

I stared down at the scroll of my instrument and took a deep breath. We had played this piece a thousand times. We were ready. Most importantly, I wasn’t doing this alone. My viola and I were in it together. I raised my bow to the strings and began. The song emerged from my fingers, bow, and instrument. It was beautiful. It was perfect. That audition earned me regional first chair, and I learned a valuable lesson: I have to believe in myself(( And here we get to the theme of the essay. It’s not just about the viola. It’s about the writer—a musician.)) .

Now, as a member of the American Youth Symphony, I return to this lesson every day. It’s easy to get intimated when you’re playing alongside the country’s best young musicians. But, with my viola in hand, I know that I am a musician, too.

AO Notes on My Partner in Music

This writer tells us about their prized instrument. But the essay isn’t just about the instrument. It’s about the writer. The essay does an excellent job detailing a challenge the writer overcame. By the end, we see that the writer has grown and has achieved a huge accomplishment.

• Contextualizing a great achievement: The writer’s strengths shine through in this essay because of their achievement. But throughout the essay, we also see that the writer has had to work hard to get to where they’re at today. That context adds great dimension to our understanding of them.
• Voice: Through all the events that happen in this essay, the writer’s voice remains consistent. They have a solid tone that shows their work ethic and unwillingness to give up.
• Get to the main idea quicker: Notice how the first few paragraphs of this essay are simple setup. We learn a lot about who the student was as a child before we get to the heart of the essay. The central conflict doesn’t come until almost the last paragraph. In general, college essays should be primarily about things that have happened in your life since starting high school. Brief mentions of previous events are fine, but they take up a touch too much space in this essay. It takes a while for us, the readers, to really see what the essay is about.

Example #11: The Laundromat

As the son of Chinese immigrants, I grew up working in my parents' laundromat(( Sometimes straightforward “statement” hooks work. This one does the job well.)) . It wasn't glamorous, but it was a good way to earn some extra money and help out my family. Over the years, I got to know a lot of the regulars who came in to use the machines. Some were friendly, some were angry, and some were just plain weird. But one thing they all had in common was that they had stories to tell. And I learned from every single one of them.

There was Mrs. Nguyen, an older Vietnamese woman who came in every week with a small load of clothes. She always greeted me warmly and snuck me a hard strawberry candy. We mostly talked about me—my schoolwork, friends, and sports. But one day, she opened up. She told me about her experiences fleeing Vietnam in the aftermath of the war. She described the dangers she faced and the sacrifices she made to keep her family safe. I was stunned that someone I had grown so close to had experienced such a challenge. What shocked me most was Mrs. Nguyen’s kindness in spite of everything she had been through. Before learning this about Mrs. Nguyen, I let small problems like late homework and friend arguments really upset me. But hearing her story put things into perspective for me, and I’m so grateful that she felt comfortable enough to share it with me(( Perspective: always a good lesson to learn. This example shows some good maturity.)) .

Carlos came every Tuesday and Thursday. He was a thirteen-year-old who always seemed to be practicing for the spelling bee. He went to my sister’s school and was shy and quiet. But after seeing him multiple times a week, I learned that he was also incredibly smart and dedicated. He would come into the laundromat with a stack of flashcards and a dictionary, looking for somewhere quiet to practice. He’d close his eyes and mouth the letters to himself before peeking to see if he was right. After months of watching him, I finally went up to him and offered to help(( With this “show, not tell” example, we see our writer exhibiting generosity and kindness. I also like the humor and personality in the following two sentences.)) . I started quizzing him on words that I couldn’t even really pronounce myself. I relied heavily on his dictionary! But after practicing together, Carlos won his school spelling bee and eventually went on to regionals. I was so proud of him. I learned that it if you want to succeed, you have to put in the work like Carlos did. Every time I think of quitting something, I remind myself of his determination, and I keep going.

And finally, there was Gary, a nurse who worked in the emergency room at our local hospital. He was always rushing through his laundry because of his busy schedule, but he was never too busy to sit down and talk with us kids. Gary inspired my interest in pursuing medicine. He told me countless stories about what he saw in the ER. But what I always appreciated most was when he would explain the science behind what was happening. Gary was a talented teacher who could always break down complex concepts into something even a kid could understand. By my junior year, Gary encouraged me to take AP Chemistry and Biology and now he’s helping me look at pre-medicine programs(( Nice—we get some background about the student’s academic interests.)) . Gary has sparked in me an interest in caring for people through medicine.

I could have chosen to ignore all these people and hide away in the back of the laundromat. But instead I chose to talk with them, even though it was sometimes scary and intimidating. Being around so many people, hearing all their stories, it’s really shown me that everyone has a story to tell. More importantly, everyone can learn from those around them. I wouldn’t be who I am today without the regulars at the laundromat, and I hope I inspired them in some way too.

AO Notes on The Laundromat

In this classic “understanding self through others” essay, we get to know the writer through their interactions with others. The writer does a pretty good job walking the (sometimes dangerous) line between saying too much about others and not enough about themself.

• Personality: One of the best parts of “understanding self through others” essays is that we get to see who the writer is without them having to tell us. Through each of these small interactions, the writer—and their personality, values, beliefs—shines through.
• Maturity: This writer shows several strengths. I think one of the most salient is their maturity. The way they were able to learn from Mrs. Nguyen, help Carlos, and be inspired by Gary took a lot of maturity. As an AO, that would tell me that this student is ready for the college classroom.
• Connection to academic interests: Not all personal essays need to connect to an academic interest. Most probably don’t. But it was a natural connection for this writer, and I’m glad they made it. It raises the stakes of their interactions and leads beautifully into their conclusion.
• Streamline: With the three different examples, the essay reads a bit choppy. The writer could put better transitions in between each person, or they could weave the examples together into a cohesive narrative. Streamlining would also help emphasize the essay’s focus on the writer rather than the laundromat patrons.

“Bad” Common App Essay Examples

Okay, these essays aren’t necessarily “bad” as essays. But if we’re being honest, they’re not great Common App essays either.

That doesn’t mean that they don’t have the potential to become great Common App essays, though. As you’ll see in the notes from our Admissions Officers, these essays contain the seeds of good essays. They just need some reorganization and refinement.

Let’s take a look.

Example #11: What I’ve Learned About Life

We all know that life is short so you have to make the most of it. I always try to do my best and live every day to the fullest(( These sentences are both cliches. It’s always better to hook readers in with your own words.)) . Well, I did that until I broke my arm in 8th grade. I used to be not afraid to do anything, but it turns out that’s what got me in trouble. I was riding my bike home from school one day and saw a stump. I thought about what we talked about in English class that day. It was something about “carpe diem” and so I decided, “You know what? I’m gonna jump that stump.”(( This story makes for a good concrete example.)) And I did. Almost. My bike tire caught on the stump and flipped me over the handle bars. A bystander had to help me call my mom to take me to the hospital and it was fractured in four places pretty bad it actually hurt a lot. So after that I still learned to live every day to the fullest but I also learned that you need to make good decisions when doing so.

My mom always tells me that I need to be more patient because it’s a virtue and I am not patient at all. But I have decided that the most important thing to me is to try hard no matter what. I’ll work until the ends of the earth to prove myself because those who work hard succeed. So when I realized that I tried to listen to my mom. Now when I get impatient I take a deep breath and remember my goal of being successful and sometimes it is hard to be patient and I can get angry or frustrated but then I think about what my mom said. It’s a virtue and I want to be as virtuous as possible. My mom has worked so hard in this life to give me a better life and all I want to do is make her proud(( These are fantastic sentiments that could be drawn out more clearly.)) . I really think that’s what it means to be a good person. I’ll always work hard so I can be successful and she can watch me shine.

AO Notes on What I’ve Learned About Life

This essay, while short, gives an honest effort at conveying something deeply meaningful. I especially like the very last sentence, which tells us a lot about who the writer is as a person. But there are a few areas this essay could improve.

What this essay does well:

• Authenticity: It’s clear that the writer is discussing something very meaningful. I have no doubt that these lessons have played a big role in their life.

What could be improved on:

• Too short: The maximum word count for the Common Application essay is 650 words. We like to encourage students to get to at least 80% of the word count, which means that your Common App essays should be at least 520 words. This essay is only 361.
• The topic is too vague and full of generalities: The writer is communicating something meaningful about what they’ve learned throughout their life, but they do so only through generalities. Being too vague makes it hard for admissions officers to see who you really are. Instead, the writer could use concrete experiences and reflect specifically on how those experiences impacted them.

Example #12: Clean Slate

Common App Prompt #7

Bubbles, foam, and the sweet smell of chemicals. Shiny surfaces free of streaks and grime. I cleaned the entire house in three hours flat. I never really learned how to clean growing up, but I started seeing cleaning videos online. The cleaning videos always relax me, so I thought I’d give it a try(( This shows the writer’s initiative.)) .

First I needed to figure out what kinds of supplies to buy. After watching a few more videos, I made a list of the most commonly used items. Since I was on a limited budget, so I could only get the basics. I turned to coupons to find the best bargains possible. I bought disinfectant, a multi-purpose cleaner, and a window and mirror spray. I also found a mop, sponges, and a scrubber brush. It all cost me only fifteen dollars!

My family was shocked when I came home with these supplies in a shopping bag. They didn’t understand why I cared so much. We vacuumed and used disinfectant wipes every so often to keep things manageable, but none of us knew that you are supposed to deep clean your house every month or so until I told everyone based on what I saw online. I showed them each product I bought and told them what the purpose of each one was. They were proud of me for taking initiative and learning something new. They also couldn’t wait to see the results.

Then it was time for me to get to work. To strike inspiration, I put on another cleaning video in the background. I began with the bathroom. It was tidy, but it sure wasn’t clean. There was dust on all the surfaces, soap scum, and rust. I grabbed the disinfectant spray first because it has to sit for a while to actually disinfect. Then I used the mirror spray to clean toothpaste off the mirror. I scrubbed all the surfaces with my new sponge until they were squeaky clean. Then I moved on to the floors. My mop is a spray mop, so it was a quick job.

Next I moved on to the kitchen. That was much harder because it was more complex. There are several appliances, dishes to do, and food to put away. I wiped down the cabinets, which had a dark grime that you couldn’t even see before. I felt accomplished because I was actually cleaning. Once the kitchen was done, I moved on to the living room and the bedrooms. It took forever, but I did it(( By this point, we should have some more reflection from the writer about why this story is personally meaningful.)) .

I gave my family a tour around the house, showing them all the nooks and crannies I had cleaned. They were impressed and I felt so proud. I stood back, admiring my work. The house glistened like a diamond with cleanliness.

The next day I got up and decided to take a look around, excited to see my handiwork again. I was in shock when I stepped into the kitchen. It was a disaster. There was food and dishes everywhere. I ran to the bathroom. It wasn’t any better. There were dirty clothes and an open toothpaste tube. The baseboards already had a small bit of dust. I was devastated. All my hard work was gone just like that.

I told my family how upset I was. They understood and said that they would try to be better next time. But I also learned that that’s just how cleaning goes. You can try to keep things tidy, but we actually live in this house and sometimes that means making a mess. I hugged my family members and felt better after their apology(( I really like the picture we get of the writer here. I can tell that they are very mature and thoughtful!)) . We made up, they picked up a few things to pitch in, and I put my cleaning supplies back in the closet until next time.

AO Notes on Clean Slate

In this essay, we go on a cleaning journey with the writer. We see their successes and disappointments. We learn a bit about their family background, and we cheer them on as they overcome challenges.

• Writing and organization: This essay is well-written, and the narrative easily holds a reader’s interest. There’s a good sense of the plot, and the paragraphs are clearly organized and easy to read through.
• Strengths: We really see the writer’s initiative through this story. They did their research, got their supplies, and put their interest into action.
• More significance: While this is a fun topic, it doesn’t convey much meaning about the writer’s life. The writer could make the topic more significant by adding more reflection throughout to show explicitly how this story has changed them as a person. Or they could select a different topic that relates to something more deeply meaningful about their life.

Key Takeaways

Hopefully these Common App essay examples have shown you what to do (and what not to do). More importantly, we hope that the commentary from our former admissions officers has helped you analyze the why behind what makes an effective Common App essay.

Absorbing these lessons and applying them to your own Common Application essay will help take your writing to the next level. No matter what you write about, your goal should be to create a seamless application narrative that speaks to your strengths.

If you’re not sure what step to take next, we've got you covered. The Essay Academy — our comprehensive digital college essay course — walks you through every step. Plus, you can get personalized essay help for your own Common App essays. 

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Written By Meghana Gowda KS (Grade 9)

My favourite app is Google. It is also called 1 followed by 100 zeros. I like that app because Google app always gets me the best results from the web. That’s the case regardless if I am looking for some text content, video, images or something else.

Personalization is something that I love and I love to search for that awesome features. Google is one of the world’s most advanced security systems and easy to use privacy tools.

Google was founded by Larry Page and Sergey Brin while they were PhD students at Stanford University in California in September 1998. Eric Schmidt is the first Google’s CEO (Chief Executive Officer) in March 2001. The current CEO of Google is Sundar Pichai.

Sundar Pichai is born on the 10th of June in 1972 in Madurai (Tamil Nadu). Google is a company whose mission is to organize the world’s information and make it universally accessible to everyone and very useful.

Now let’s take Google map, firstly just imagine how big that (any place or something) image is and how Google is providing it to everyone with an Internet connection for free. So, it is a boon for us from Larry Page and Sergey Brin. Not only that, it has a map of the entire world, not the map that is hanging in your geography class rather it is an extremely detailed map with the destinations, signals and many more. Using Google Maps, that I can not only see the shortest route to somewhere but I can see the fastest and traffic-less route. It is just so amazing technology.

You will get a good bunch of services from Google for free. The ones I will use frequently in Google are searching for the new word and quotes for the day, translating the languages from another language, finding out the best route from Google Maps, Google Lens help me to find the unknown things by scanning the things and scanning QR Codes in that Google Lens and mathematics problems which is the most important one so that I can solve any problem without using a calculator in my other hand.

Even in this COVID-19 pandemic, Google is exceedingly using. So that we can get more information on COVID-19 symptoms, finding Covid-19 testing centres near us, preventing ourselves from Corona and precautions that we should take in the COVID-19 pandemic. The other apps of Google are Google Maps, Google Assistant, Google Drive, Google Playbooks, Google Now, Google Search app, Google Chrome, Google Shopper.

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My Favourite Mobile Apps Report (Assessment)

Mobile devices such as iPhones, iPads, Android gadgets and ipods are gaining popularity and being used in various fields of study. These mobile devices have seen the development of advanced applications that can be used in learning programs to assist learners in and out of classrooms.

More apps are expected to be created as mobile technologies continue to advance. Mobile applications make learning easier by enabling students to access materials wherever they are and at any time they want to (Lytle, 2012).

Although there are so many mobile learning applications, my favourite apps are Evernote Peek, StudyBlue Flashcards, and Trello.

Evernote Peek is an educational mobile app that is extremely easy to use; it is available on iPads and for students to access it, they only need to own such devices. In the out-of-school environment, Evernote Peek is used by company secretaries to take and organize notes in meetings.

Evernote Peek is endowed with the cloud service, which speeds up the process of note-taking (Murray, 2012). The mobile app enables learners to organize their notes according to the available study materials and derives study questions from the re-arranged content.

Evernote can be used together with Smart Cover software, which is also installed in iPads, to view the derived questions and answers simultaneously (Baig & LeVitus, 2011).

Evernote Peek also provides a way through which students can hide their answers, especially in a situation where they do not own the Smart Cover application. Unfortunately Evernote Peek is currently unavailable for other tablet computers (Costello, 2012).

The StudyBlue Flashcards app also provides a great improvement in mobile learning. It is user friendly and does not require the use of complex technologies.

Outside the school environment, the mobile app can be used by interviewees to memorise key terms and answers to the questions they feel are common in interviews (Alley, 2009). In schools, the mobile app is used by learners to memorize important information when they are about to sit for tests or major examinations.

The mobile app also provides learners with an opportunity to test their understanding in a particular subject and helps them identify the areas in which they need to work on (Quinn, 2011).

Students who are apt at using this app can easily set reminders on it to assist them in maintaining a proper study plan before an examination (Brock, 2013).

This mobile learning app is available for iPhone, iPad, Android devices, and iPods. Like Evernote Peek, the StudyBlue Flashcards app is also provided free of charge (Lytle, 2012).

Similar to the first two mobile learning apps, Trello is also easy to use in schools and in the outside environment. Collaboration is an important element in group discussions and group projects (Tomei, 2012).

Group projects help students to break down a big task into smaller parts; each of the tasks is then assigned to one learner. Consequently, the method increases the speed with which students do class tasks (Druin, 2009).

However, group tasks may be confusing and difficult to break down into small parts. With Trello, students can successfully divide a task into small bits and assign each to the group members without difficulty.

The app can also be used by teachers to assign tasks, create deadlines for assignments, and enhance collaboration among the students (Iskander, 2008). Trello is also available for iPads, iPods, iPhones, and Android devices; like in the first two mobile education apps, the Trello mobile learning app is free of charge (Lytle, 2012).

Alley, M. (2009). Mobile learning: Transforming the delivery of education and training . Edmonton: AU Press.

Baig, E. C., & LeVitus, B. (2011). iPad for dummies . Hoboken, NJ: Wiley.

Brock, M. P. (2013). Best practices in online teaching and learning . New York, NY: Routledge.

Costello, S. (2012). My iPad for kids . Indianapolis, IN: Que.

Druin, A. (2009). Mobile technology for children: Designing for interaction and learning . Boston, MA: Elsevier.

Iskander, M. (2008). Innovative techniques in instruction technology, e-learning, e- assessment, and education . New York, NY: Springer.

Lytle, R. (2012). 5 apps college students should use this school year. Web.

Murray, K. (2012). My Evernote . Indianapolis, IN: Que.

Tomei, L. A. (2012). Advancing education with information communication technologies: Facilitating new trends . Hershey, PA: Information Science Reference.

Quinn, C. N. (2011). The mobile academy: mLearning for higher education . San Francisco, CA: Jossey-Bass.

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So, What's Your Favourite App? A UX Designer's Perspective

You know that moment when you’re chatting about something you are totally passionate about (let’s assume if you are reading this, your answer might be… apps) and someone turns to you and asks straight out: “So, as you know so much about this, which one is your favourite?”

And there and then, your mind chooses to go completely blank…

Me too. As a UX designer , I get asked what my favourite app is all the time, and up until recently, I assumed the expectation is that a designer should launch into an exquisite monologue about color schemes, cute animations and advanced features that let you text your fridge or something…

But that conversation invariably leads us down a path of talking about singular screens, gradients and even button animations — and while it’s fun to nerd out on pixels,  are we not selling our craft of UX design short? And in an age of chatbots, voice and augmented reality, is speaking in terms of “apps” even still relevant?

This summer, Apple’s app store turns 10 years old, but has reached critical mass with growth slowing from 58% in 2015 to just 6% in 2017. Unsurprisingly, established companies like Facebook, Spotify, Instagram and Google maps still hold the title of “most downloaded” and, as a result, it’s increasingly difficult for newcomers to break in.

But it’s not just a fight for attention on the App Store anymore; the world is catching up and is becoming increasingly wary of the tech world’s abusive freemium models, wayward ways with privacy clauses and incessant “disruption”. And anyway, when was the last time you got excited rather than annoyed at having to download an app to achieve what you wanted?

So maybe it’s time for us designers to use this question as an opportunity to reframe a higher purpose for UX design, as well as to invite our interlocutor to question how they think about the digital products they use. Below are a few examples of how I use the topic of “apps” as a jumping-off point to dive deeper into the “why” of a product rather than the “what”.

My favourite app is the one that is a fair value exchange.

To manage my spending I currently use Cleo , an AI-powered chatbot that securely scans my bank transaction data. By analysing my spending (in a read-only mode), Cleo helps me track categories and surface trends about where my money is going. Using a conversational interface, I can ask “how much did I spend on eating out last month?” and Cleo will deliver the painful news via text message or messenger — often accompanied by a sassy gif. (You can fine-tune the bot’s personality if the emoji gets too much).

Source: meetcleo.com/

Meanwhile, as I, along with thousands of other users, go about my days, Cleo’s artificial intelligence grows not only to uncover my personal spending habits, but also to reveal depersonalised trends across the community of users. The other day “she” texted: “your last bill from EnergySupplier was £119, that’s a lot higher than the average Cleo user. You should check out Dazzle* they’re 100% renewable and it takes 2 minutes to switch..also get £50 off by signing up through me.” While biased towards Cleo’s affiliates, this is an extremely powerful type of targeted advertising that had me switching energy suppliers in a matter of days and shrinking my energy bill by a third.

It’s a tradeoff: while Cleo becomes more powerful through usage, I have a better grasp of where my money is going and can work on improving my spending patterns and curbing dangerous habits. As long  as the promise to encrypt and never share my data remains unbroken, this value exchange is worthwhile to me. I get what I want, and the product takes what it needs to survive as a business.

My favourite app is the one that looks at an ecosystem and chooses to enhance it rather than disrupt it.

The Oxford definition of disruption is “disturbance or problems which interrupt an event, activity, or process”. While I am in favour of products and services that challenge the way things are done — especially when we’re talking innovation in areas like reducing discrimination or conserving the environment — I think we overestimate the value of disrupting a market for the sake of change, and don’t pause to think about the effects on the people left behind once the dust settles.

When I want to travel around my city, I like to use Gett, the on-demand taxi service that works with registered black cabs. As opposed to another well-known taxi service, Gett works with, rather than against the current ecosystem and has found an opportunity to service the on-demand transport market without putting hard-working professional taxi drivers out of a job. It’s refreshing to get into a black cab and have the driver sing the praises of a new product that empowers rather than replaces them and gives them a whole new source of income. (Even if that does limit the time for that sweet taxi-driver life-advice.)

This idea of considering all stakeholders when making design decisions is key to how I approach my work in the emerging technology space. At Amiqus , one of the startups I’m working with, we are on an ambitious journey to rethink access to civil justice. The legal world is definitely ripe for positive change but it is key that, throughout the process, we work with concerned stakeholders and cause no unnecessary harm.

My favourite app is the one that powers connection and exchange.

Tim Berners-Lee, the founder of the World Wide Web, had a vision of a connected world through free access to the internet for all. Most of us take this incredible power and access to communication and knowledge for granted, but for billions of people around the world, these benefits are still out of reach.

Where censorship is rife and freedom of expression is curtailed, apps like the non-profit messaging service Telegram go some way to upholding Berners-Lee’s dream. Telegram was designed to be a secure messaging service inaccessible to third-parties which allows people to share messages and documents with other Telegram users, as well as setting a timer on the message to “self-destruct” after it has been read or sent. Recently, the app has become a symbol of free speech in Russia.

Demonstrators threw paper airplanes — the corporate symbol for Telegram — in front of the Moscow headquarters of the F.S.B., Russia’s secret police, to protest a ban on the popular messaging app. Credit Pavel Golovkin/Associated Press

Source: New York Times

On a less political note, products like Borrowmydoggy , (which does what it says on the tin) offer something quite remarkable in terms of real-world connection. While the interface perhaps wouldn’t stand out on dribbble, it successfully builds trust and friendship between complete strangers through a shared love of dogs. In a world where loneliness and depression is a growing threat to our health, even greater than that of obesity and smoking, borrowing a pooch might just be the answer.

My favourite app is the one that gives me my attention back.

You’ve likely heard the term “text neck”, a 21st-century modern spine ailment caused by our faces being constantly tilted down to our little rectangles as we escape into that soothing scrolling action — surfacing for air 20 minutes later, seconds after missing our bus stop. A digital detox centre in Switzerland goes so far as to define our relationship with our devices as something pertaining to the Stockholm Syndrome, a psychological condition that causes hostages to develop a strong emotional bond with their abusers. We know our attention is held captive but we can’t stop scrolling.

Illustration of the effects of prolonged texting on our spinal position. Source: FLM Training LTD

Our attention is in limited supply, something marketers around the world are acutely aware of, so it comes as a relief when you stumble across a product that does what it says it would and then gets out of the way. Personal tracking apps such as Runkeeper, MyFitnessPal or meditation app Pause  actually draw attention to the present moment and encourage awareness and healthy habits.

“Retention” and “session time” are some much-used metrics for measuring success in product design. However, as our relationship evolves with technology, I feel that we as designers should explore new metrics and value exchanges that enable people to mindfully interact with and leverage technology, while also keeping us in business. A delicate balance.

Recognising our privileges and stepping up

It is sometimes helpful to be reminded that designers and developers make up a fairly small percentage of the population and we’re quite a homogenous bunch at that. We have the enormous privilege to be engaging with emerging technologies and trends early on and, as a result, shape them. We make decisions every day that will affect the end user’s life, in subtle and considerable ways. And nowadays, we’re at a moment in time where people are losing faith and patience with the lack of transparency of the “tech world”. So now more than ever, we need to help people feel they can genuinely engage in discussions surrounding technology, rather than dismiss it.

The above example “talking points” are ones that have helped me go from a mundane chat about “apps” to discussing free speech, solving loneliness and the importance of living in the present. My hope is that the people I talk with will feel involved and reassess how they engage with the apps or services they use and reflect on whether they really are getting a fair deal. Perhaps the next time they try a new way of doing things, they’ll stop to consider what and who it’s replaced. Finally, I hope they’ll want to be more mindful of where they spend their attention while unlocking how to enhance their every day with technology.

“Design exists beyond screens – it has an impact on real life” Paula Scher, Graphic Designer, Painter, Author and Educator

So, the next time someone asks you what your favourite app is, maybe it’s time for a new approach… let’s keep nerding out on dribbble between us designers, but when the opportunity presents itself to invite more people in, we should do our best to engage their interest.

Want to learn more about UI design? Here are some other guides you’ll find helpful:

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The best video essays of 2021

Introspection and the act of watching emerged as recurring themes across a year in which video makers responded to the realities of a continuing pandemic. Our poll of 30 video essayists, academics, critics and filmmakers highlights 120 recommendations.

After ‘Year of the Virus 2: 2 Metres 2 Vaccines’, it’s no surprise that we’re presenting yet another poll inevitably marked by isolation and fatigue.

There have been numerous developments and projects of note, continuing the previous year’ s theme of collaboration. There’s been the forming of Video Essay: Futures of Audiovisual Research and Teaching , an academic research project led by Johannes Binotto at Lucerne University in collaboration with the University of Zurich, which has produced some fascinating work this year; the One Villainous Scene collaboration, for which Nando v Movies gathered 230 essayists on YouTube to explore their favourite villains; the TV Dictionary collection, for which 20 essayists followed Ariel Avissar’s open invitation to dabble in videographic ruminations on television series; and two more volumes of the Essay Library Anthology, ‘micro-essay compilations’ by members of the Essay Library Discord community, touching on the very relevant themes of ‘time’  and ‘death’ .

This year also saw the return of several big names, such as Taylor Ramos and Tony Zhou (the team behind Every Frame a Painting ) in their contributions to Netflix’s Voir series, and Mike Rugnetta (former host of Idea Channel ), who began uploading essays to a personal account .

But even amid these excellent projects, not only have video makers continued to struggle within the realities of a continuing pandemic, even poll voters have been down from previous years, suggesting that many of us have struggled with not only finding the time to make but also finding the time to watch video essays this year.

That being said, many of the videos that have been made and watched seem to have turned their attention towards the very act of watching, a trend that’s perhaps unsurprising given the amount of time we’ve all been afforded with ourselves this year. Left to our own devices, it’s only a matter of time before we begin to look inward, and thus introspection marks a clear theme in this year’s most talked-about videos. This result may be even more inevitable than any undercurrent of fatigue or isolation, as what would a group of video essay enthusiasts love more than essays about essays and videos about videos.

There’s no shame in a little indulgence this year.

Trends and numbers

Of the 30 contributors to the poll this year (down from 42 last year), 20 are male, 9 are female and 1 is non-binary. Two thirds of them are based in Europe, one third in the USA . They are video essayists, academics, critics and filmmakers. They submitted a total of 178 votes, for 122 unique entries that span online video essays, essay films, documentaries, installations, television series and Twitter threads. These works were made – or published – this past year, by both established essayists and newcomers to the field; they range from 20 seconds to 6 hours in length, with the average length above 22 minutes (5 minutes longer than last year’s average).

Practices of Viewing , “a video essay series on new media and their many old histories” by Johannes Binotto, was the top-mentioned item, receiving a total of 13 mentions (of either the series as a whole or several individual entries). Also of note were: the collaborative TV Dictionary collection, which received 7 mentions (of either the project as a whole or of various individual entries); Screening Room: On Digital Film Festivals by Jessica McGoff (6 mentions); and What Isn’t a Video Essay? by Grace Lee (5 mentions). As previously stated, most of these are devoted to an exploration of the subject of video essays or videographic criticism and of various practices of consuming, engaging with and reacting to media images. This trend also extends to Max Tohline’s A Supercut of Supercuts (4 mentions), Cristina Álvarez López and Adrian Martin’s Videography 1978 (4 mentions), and several other entries featured on the poll.

Of the essayists whose work is featured, 38% are female (up from 33% last year, and 24% the year prior) and 50% are male (down from 53% last year, and 68% the year prior), with the remaining 12% made by mixed-gender teams or non-binary essayists.

The videos are overwhelmingly presented in English (95%) and are predominantly from the US (36%) and the UK (22%), followed by 23 other countries (mostly in Europe), marking a gradual rise in the number of countries featured in the poll. The dominant focus in terms of medium, though somewhat less so than in previous years, remains film (63% of videos), with television a more significant – though still distant – second (13% — up from 5% last year). 23 of the videos (or 19%) were published in various online academic journals, primarily [in]Transition (10 entries) and Tecmerin (5 entries).

Besides voting for their favourite video essays of the year, contributors were also given the option to suggest video essayists to be featured on our new ‘Emerging voices’ section, which seeks to spotlight new makers of note, whose work this year was significant or impactful, and who are well worth keeping an eye on in the following years.

Emerging voices

This year has been one not just of self reflection, but of discovery. In light of all the discoveries we’ve been making, we wanted to use this year’s poll to spotlight new voices who have emerged this year. We asked our peers to submit individual essayists that they believed had truly struck out anew this year, be that through debuting their first works, or by significantly expanding their own profiles.

One journey many of us can relate to is that of finding our voice throughout our academic progression. Many of our emerging voices are students whose works originally developed as academic assignments. Emily Su Bin Ko, from the University of Massachusetts, was one such creator. For her latest piece, the pointed videographic exploration Citizen Kane: Transcending Bazin’s Dichotomy , she was singled out by both Barbara Zecchi and Adrian Martin as having demonstrated her analytical talent, an engaging style and a thought-provoking voice.

Another was Niki Radman from the University of Glasgow, who made her debut this year with the video essay eye/contact , and was noted by Ian Garwood. The piece explores the work of Barry Jenkins through a critical supercut, and demonstrates an exciting mastery of the form and an ability to poetically communicate her ideas.

Matthew Smolenski from the University of Warwick was suggested by Katie Bird as another newcomer of note for their video essay Here, There and Everywhere: Movement in the Beatles’s Fiction Filmography , which deftly addresses movement and sound on screen through the context of the Beatles’ filmography.

Myrna Moretti from Northwestern University was also praised by Katie Bird. Her work, Friends from TV on the Internet , made for the Desktop Documentary Seminar at SCMS 2021, manages to be both lighthearted and poignant as it explores fandom, nostalgia, and climate anxiety.

Not all submissions received were discovered through traditionally academic spaces. Some were video essayists who have been accruing greater audiences on YouTube. Maia, known as Broey Deschanel , was put forth by Dan Schindel for her well-researched and thoughtful analysis of pop culture subjects. Her works on Sofia Coppola and Love Island were mentioned specifically, and while she has been working steadily since 2018, her work of this past year has been exceptional.

Yhara Zayd was also recognised by Dan Schindel for the uniqueness of her topics and the finesse of her analyses. Since 2019, she’s been creating thoughtful and original critiques on everything from Skins US to Reefer Madness (1936), and an acknowledgement of her work is well-deserved.

Corinth Boone is a cartoonist, animator, and now video essayist, with the debut of her piece, So I Decided to Watch All the Lupin III Movies . She was specifically hailed by Shannon Strucci for her wit, editing skills, and the well-researched manner of the work.

Finally, Sophie from Mars was suggested by Grace Lee. While she has been successfully analysing media and culture for many years now, Sophie was specifically heralded for the achievements of their work of the last year, the skilful honing of their visual style, and an affecting personal point of view.

Growth is a term that is wholly dependent on context. Thus, the creators selected for this emerging voices section represent the diversity of the videographic community itself, and we’re pleased to share each of their stories.

All the votes

Film theorist, curator and occasional video essayist, Charles University in Prague and Národní filmový archiv

Screening Room: On Digital Film Festivals by Jessica McGoff

Throughout the pandemic, I have become fascinated with the idea of extending the screen-mediated experience of the world beyond the actual computer or smartphone interface. Chloé Galibert-Laîné already explored this notion in 2020’s Forensickness ; this year, Jessica McGoff utilised the ‘desktop cinema without the desktop’ approach to reflect on attending digital film exhibitions within the spatial monoculture of her apartment. A paper-made quasi-cinematic dispositif crushed by an intervention of a fluffy cat is only one of the many playful experiments McGoff stages to invent new ways in which we can exploit the limitations of the pandemic against the grain.

The Elephant Man’s Sound, Tracked by Liz Greene

One of the great potentialities of videographic criticism is giving insight into the research process in all of its stages and facets. Yet, rarely do videographic essays delve into such meticulous depth as Greene’s investigation of her ongoing encounters with The Elephant Man’s soundtrack. One minor detail – a strangely cleaned-up line of dialogue – serves as a MacGuffin that sparks a journey across often obscure or intimate research artefacts and software interfaces. The essay highlights the alignment between research and post-production as material processes whose gaps, fissures, and excesses tell their own stories.

The Thinking Machine #48: Videography 1978 by Cristina Álvarez López and Adrian Martin

Examination of continuities and discontinuities between analogue and digital images is another area where videographic criticism thrives. Besides the works of Johannes Binotto, whom I mentioned in previous polls and who continues this line of work in the Practices of Viewing series, a moving autobiographical essay on films as material artefacts was created by López and Martin. Videography 1978 offers a fresh look on the ‘unattainable object’ issue, highlighting, for example, the non-identity of analogue and digital frames. The essay testifies that despite the (often justified) criticism, cinephilia as a mode of watching and analysing films remains relevant.

Mediated Auscultation by Emilija Talijan

Out of this year’s essays published in [in]Transition, Talijan’s exploration of the relationship between cinema and the stethoscope resonated most closely with me. I generally appreciate when videographic works reach toward a broader context of audiovisual culture, particularly of its very origins, and Mediated Auscultation finds the proper equilibrium between structured argumentation and formal experimentation. The stethoscope’s technological possibilities deconstruct the audiovisual unity of film back into a multiplicity of deranged, often impenetrable images and sounds, with a nerve-racking heartbeat rhythm always hovering around.

Train Again by Peter Tscherkassky

Once again, my list would not be complete without at least one experimental found footage film. Tscherkassky’s treatise on the ever-present bond between trains and cinema overflows with allusions to early cinema and the avant-garde, yet achieves to marry the old with the always already new. The Austrian artist’s vintage analogue deformations join forces with digital pixelation to show the train-image for what it is – a constantly trembling and crumbling entity on the verge of destruction and rebirth.

Ariel Avissar

Video essayist and media scholar at Tel Aviv University

Viewing the world outside from the comfort/prison of her room, McGoff offers a perceptive meditation on contemporary ways of seeing that is as irreverent as it is reverent. Quintessential viewing for the pandemic era. Make this a double feature with McGoff’s My Mulholland from last year, which likewise investigates the superimposition of online and offline experience.

I am Sitting in a Room, Listening to Mank by Cormac Donnelly

Sitting in a different room, Donnelly offers a sonic counterpoint to McGoff’s, offering a fascinating examination of the sonic soundscapes that envelop us all as we sit, in our own rooms, watching and listening (though perhaps not listening as attentively as we ought to). Make this a double feature with Donnelly’s Sonic Chronicle Post Sound from last year, which investigates (diegetic) sonic soundscapes.

Practices of Viewing by Johannes Binotto

Like McGoff and Donnelly, Binotto’s fascination is with the way we interact with images and sounds, and this phenomenal series, consisting of five entries to date, is a must-watch for anyone interested in the way technology mediates images and sounds, and the possibilities it opens up for interfering with and complicating its own mediation. My personal favourite is the one on screenshots , but it’s dealer’s choice, really. Make that last one a double feature with Cristina Álvarez López and Adrian Martin’s Videography 1978 , Binotto’s explicit source of inspiration, which also explores technologies of viewing – and their pre-digital antecedents.

Irani Bag by Maryam Tafakory

Made as part of the Monographs  series of essays on Asian cinema commissioned by the Asian Film Archive last year, which is finally available online now, Tafakory’s soulful and mesmerising video employs excerpts from 24 Iranian films to interrogate the ways in which a handbag can serve as a surrogate for bodily contact, enabling the performers to “touch without touching”. Make this a double feature with Tafakory’s longer essay film follow-up, the upcoming Nazarbazi ; it is a meditation on the subject (and absence) of touch in Iranian cinema that is powerful, reflective and, yes, touching.

A History of the World According to Getty Images by Richard Misek

Misek offers a thoughtful and ever-timely exploration of the ways in which commercial archives mediate – and commodify – our access to the past, and offers a mode of resistance in the form of a direct intervention. Be on the lookout for it when it comes out sometime next year; in the meantime, whet your appetite with this shorter, early iteration of the project titled Captured Images , which can serve as a sort of trailer for the longer film – and also stands on its own.

Mad Men ’s ‘Babylon’  by Ariane Hudelet

Hudelet patiently and diligently traces multiple intertextual threads offered by a song featured on an early episode of Mad Men, presenting the kind of thorough, insightful and enjoyable analysis that I, for one, would love to see dedicated to more works of television in videographic form. On that note, make this a double feature with Occitane Lacurie’s Prendre conscience / perdre connaissance , a fascinating desktop examination of intertextual relations between Westworld and Last Year at Marienbad.

A Supercut of Supercuts: Aesthetics, Histories, Databases by Max Tohline

And finally, Tohline’s epic, feature-length reflection on the supercut is a comprehensively impressive (or impressively comprehensive?) investigation of one of the digital age’s most viral videographic genres. Over its 130 minutes, Tohline examines the supercut’s aesthetics, structures and effects; its complex and multiple contexts and histories; and its relation to technology and ideology, as a simulation of database logic. The analysis is coherent and persuasive, and the diverse perspectives are highly informative and enriching. No need for a double feature on this one (though I dare you not to look up any of the numerous supercuts sampled in the video).

Johannes Binotto

Lecturer in media and cultural studies, video bricolageur, leading videoessayresearch.org

I feel absolutely unable to have an overview of what work has been done in the field throughout this year. Instead the video essays on my list are all works that I came across not because I was searching for them but purely by accident, strangely in-between, and when I least expected them. Each of them hit me sideways so much that I still don’t want to recover from what they did to me.

How to Perform Teaching During a Pandemic Spring Session, 2020: GENDER STUDIES , Rain & Cats Cut by Dayna McLeod

I was watching Dayna McLeod’s haunting take on Lynch’s Wild at Heart when I came across this other piece that perhaps many would not even consider a video essay. McLeod performs the performance of someone who has to perform gender studies (and its interest in performance) under the circumstances of COVID remote teaching and being constantly interrupted. This is really wild, unpredictable, intellectual, clever, very funny, but – and this gets me the most — so extremely touching in its acknowledging one’s own awkwardness and vulnerability. We always joke about the things that hurt us most.

3 x Shapes of Home by Elisabeth Brun

What would seem as a purely conceptual and abstract research on how to investigate landscapes through different film practices turns out to be like a poem by Whitman, encompassing the most intimate and the most universal. A film in which the sudden freeze of an image and the humming of the filmmaker cuts me so much I start to cry. A crab gently poking at the camera is a sight I will keep dreaming of.

RETOURNE - TOI (Reading Ovid’s ‘Orpheus & Eurydice’ in Portrait of a Lady on Fire) by Catherine Grant

I thought I already knew this video but when seeing it during a workshop I was shocked by how much it affected me. It left me overwhelmed yet at the same time made me want to work myself in exactly this state of overload. I guess I heard the Althusserian interpellation in the title. And it is fitting that I had to return to this video to find out its unique power since it is about the hypnosis of repetition, both on narrative and formal level.

The Conversation is the Confessional by Max Tohline

I probably should have picked Max’s incredible jumbo jet of a video essay on the supercut, but this one means a lot to me because it is among many things also a personal present. Seeing a collection of video essays students of mine made on The Conversation, Max not only fell in love with them but wanted to join our group by contributing his own thoughtful, sensitive, and complex analysis of the religious under- under overtones in this film. Like a confession of its own. What a gift!

The Archival In-Between by Evelyn Kreutzer and Noga Stiassny

I don’t know how to talk about this one because it attempts what must remain impossible, approaching the unapproachable. It uses archival material that I am not sure anyone should ever use again but of which I am also convinced that it must be seen. The video’s impossibility seems to me the impossibility of the archive per se Foucault wrote about. So how then even to begin to make this video? It gives no answer but begins and remains beginning. Like the crackling noise on the soundtrack: a needle in the empty grooves of a record before the music starts.

Vertigo - Making Space. A 3D Video Essay by David Bucheli

Who hasn’t fantasised of seeing Vertigo in 3-D? David’s video fulfils the dream but does so by rendering it a disturbing nightmare. There are moments when the 3-D-effect works as one would think it is supposed to, giving us Scotty and Madeleine as seemingly graspable bodies but even more fascinating are those moments when the images we see on left and right eye no longer align but completely diverge, fall apart, splitting your consciousnesses in half. The longer I watch the more I fear this video will damage my brain irrevocably.

TV Dictionary —  On Becoming a God in Central Florida by Clair Richards

This was a triple surprise. A video on a series I had never heard of before by an essayist I hadn’t known before focusing on a term I never cared about before. Watching admiring the scene it picks and how it dances together with the text I ask myself: What is the strength of a video essay? For me it’s not tech-savviness nor the amount of material or concepts it works with. I think it’s rather the willingness to make yourself be seen doing something you haven’t yet nor ever will have mastered. It’s not a confidence thing.

Assistant professor, communication, University of Texas at El Paso

The Elephant Man ’s Sound, Tracked by Liz Greene

Greene’s video leads the viewer through a unique historical investigation of initial discovery, possibility, and lingering questions in a way that allows the viewer to feel how answers to a production’s history are many, and regularly conflicting. Unlike most historical presentations that simply point at the ‘evidence’, Greene allows us to literally ‘search’ and ‘flip the pages’ alongside. Greene focuses on equivocation, back tracking, and talking around, and what is largely left unsaid in many of the interviews. This project cuts around auteurism, without being a critique and articulates Splet amongst a larger set of industrial and and national forces.

Long Take, Pop Song by Ian Garwood

Nothing brought me more joy this year than this little pop diddy composed by Garwood and sung by Anna Miles ear-worming its way into my daily thoughts. Beyond the catchiness of the tune that directs this video on the important of pop music in a scene from Before Sunrise, Garwood brings in a pop aesthetic to the video with the use of animated and freeze frames, turning the conceit of the Before Trilogy into a comic book that takes place within the span of a pop song. It is a delight and a treat to see criticism have fun.

From now on, I won’t be able to watch Jeanne Dielman without also seeing McGoff’s own sink. This moment where a small scene of washing dishes floats about McGoff’s sink (the lines of the tiles almost matching) last only 6 seconds, but the gesture speaks to the intimacy and vulnerability of McGoff’s style. Her now signature approach to desktop, combined anew with the casual recordings of daily life (the record, the cat, the windows, the screens, the screens, the screens) offers a critical and personal glimpse into something that felt/feels all too familiar over the past years.

The TV Dictionary project by Ariel Avissar and various

Ariel Avissar’s TV Dictionary project was enormously generative for my own thinking about what diverse and creative experiments could be produced out of a simple prompt. I was inspired to create my own lists of terms and shows I would apply them to, and though I never made one, this speculative edit was a thrill. There’s too many videos to celebrate. But Libertad Gills and Juan Llamas Rodriguez tapped into the layering of their terms ‘ experience ‘ and ‘ comfort ’: how their shows feel to viewers and what is felt between characters in a moment or shared series of moments.

Beyond inspirational, and field changing, nothing made me want to throw in the towel on making more than seeing Binotto’s playful, critical, and incisive video series Practices of Viewing. Each one challenged our ways of ‘seeing’ and making, each one carefully bringing in new techniques to test the boundaries and possibilities of videographic form. But whatever trepidation I felt, was always overshadowed by the openness and curiosity that grounded each of Binotto’s experiments and his welcomeness as a videographic maker joyfully throwing out these gambits for the rest of us to up our games. But, MASK did me in.

Mourning with Minari by Kevin B. Lee

I’ll need to sit and rewatch Lee’s video essay many more times before I’ll have words good enough to match his evocative “gathering of images” of grieving through making, of holding space, and of breathing this memorial into being. By walking us through Minari, Lee leaves room for the questions trauma and white supremacist violence has left in its wake. By showing what has been made invisible, Lee similarly works through what it means to “manage the politics of presence” in the film and in US visual culture writ large, not to see these images as ‘empty’ but as open

De la femme by Caterina Cucinotta and Jesús Ramé López.

Stitching and Cutting, Stitching and Cutting, Stitching and Cutting! The repetition and overlap of the manual labor of production (seamstresses and editors) woven together with the metaphorical and literal fabrics of the film: its costumes and film strips. A gorgeous meditation on the gendered craft work of Hollywood production using both scraps of fabric and trims of film: materials on display and also what is not meant to be seen. The multi-screen side-by-side creates simple unexpected patterns and delightful sonic parallels to the sewing machine and the editor’s splicing. With these workers we get close in, slow down, and reconfigure.

Steven E. de Souza

It’s a Christmas movie. Bylines: @nytimes @LosAngelesTimes @EmpireMagazine @FadeInMagazine @SightSoundMagazine

Listening to Toy Story by Andrew Saladino (The Royal Ocean Film Society)

The almost purest representation of a literal ‘moving picture’, animation’s inevitable accommodation of sound would seem an afterthought hardly worth a thought, its early scores dismissed even by its applicants as ‘mickey mousing’. A century on, any imagined deficiencies of bandwidth inherent in the medium compared to live action demands sound loom even larger in its duty to inform and enhance a narrative.

Here’s Why Movie Dialogue Has Gotten More Difficult to Understand (And Three Ways to Fix It) by Ben Pearson (Slashfilm)

After nodding my head sagely at Andrew Saladino’s essay how diligently animation endeavors to add depth, clarity and content to its simulacrum of reality, I’m now shaking it in dismay at Pearson’s analysis of live action’s race in the opposite direction, coupled with minor relief that it’s not just me, I don’t actually need a hearing aid.

The Coolest Stunt You’ve Never Heard Of by Adam Tinius (Entertain The Elk)

It’s the rare filmmaker who didn’t start down the storytelling path in childhood, in backyards populated by cops n’ robbers, cowboys, pirates, and — most of all — imagination. Sometimes less is more, and we were right all along: simply pretending may be the best trick of all.

Golden Ratio in Cinema by Walter Murch

Mind Blown.

The Aesthetics of Evil by Lewis Michael Bond and Luiza Liz Bond (The Cinema Cartography)

Where would we be without our villains? (I know where I’d be, still teaching ESL at John F. Kennedy Junior High School in Willingboro, New Jersey — Go, Gryphons!) But in a world of increasingly grey tones, with black and white cowboy hats and their corresponding matching horses long dispatched to Boot Hill, how do we signal Villainy before it even opens its mouth? Here, Luiza Liz Bond and Lewis Michael Bond crack the color code; let the Pantone chips fall where they may.

Queen’s Gambit : What Makes a Story Cinematic? by Adam Tinius (Entertain The Elk)

People sitting silently in chairs glaring daggers at each other over seven hours of film will be edge of the seat suspense, said no one ever.

Scott Frank: Hold my beer vodka.

Voir, episode 6: Profane and Profound by Walter Chaw (on Netflix )

Just in time for its 40th anniversary, Walter Chaw spares no superlatives in his pedestaling of 1982’s 48 HRS . as a watershed work of not only genre, but as a seminal, crucial and long overdue vivisection of contemporary society. In an essay flaying metatextual layers aside, he shows us the racism that’s the apex tentpole of the American power structure, and unpacks this archetypical ‘buddy comedy’ as a poisoned chalice of popcorn, its bitter taste sweetened by heaping doses of comedy.

Who am I to disagree?

Will DiGravio

Host, The Video Essay Podcast ; creator, ‘ Notes on Videographic Criticism ’

These seven videos/projects/films, for me, epitomise the greatness of this form: they provide a new way of seeing and engaging with familiar images, sounds, and mediums. Each taught me how to be a better watcher, listener, and reader. They inspired me, and I look forward to returning to them time and time again in the years to come.

A Fish with the Movie Camera: Lucrecia Martel’s Pescados as Metacinema by Barbara Zecchi

All Light, Everywhere by Theo Anthony

What is Neo-Snyderism? by Ariel Avissar

The Rise of Film TikTok by kikikrazed aka Queline Meadows

Citizen Kane : Transcending Bazin’s Dichotomy by Emily Su Bin Ko

Maggie Mae Fish

Actor, writer, film video essayist

The Day Rue ‘Became’ Black by Yhara Zayd

I love all of Yhara’s work, but this video in particular touches on a moment I remember in real-time — the backlash against a canonically young Black girl in the Hunger Games books, who when brought to life in the films illuminated the stunted imagination and racism in YA  audiences.

Bo Burnham’s Inside and ‘White Liberal Performative Art’  by F.D.  Signifier

F.D. Signifier is one of the most cuttingly insightful media critiques, and his work on Bo Burnham’s quarantine ‘masterpiece’ hits into why this type of art can ring hollow or shallow for as many people as it resonates with.

Rac(ism) & Horror by Khadija Mbowe

Khadija is funny, snarky, our ‘Millennial Auntie’ and in this video becomes a film professor to give an overview of the intersection of Blackness and the horror genre. It would be at home in any university course on the subject, but Khadija goes full out swapping costumes and sets to give as much entertainment as insightful analysis of a broad and deeply important topic.

Thomas Flight

Video essayist and filmmaker

What Isn’t a Video Essay? by Grace Lee (What’s So Great About That?)

The video essay is a notoriously hard genre to define. Grace Lee expertly uses the form to examine itself and avoids easy or cliché answers, appealing instead to our subjective intuition.

What Distinguishes the Great Existential Films? by Tom van der Linden (Like Stories of Old)

2021 came as a year of personal video essays. Blending a reading of real-world spaces and film, Tom explores his love of existential cinema through his love of empty churches.

The Game That Won’t Let You See All of It by Jacob Geller

Geller looks at how a video game, several films, and a TV show use their structure to examine the passage of time.

Midsommar ’s Audiovisual Tricks by Spikima Movies

Sometimes video essays serve a very practical purpose. Ari Aster’s Midsommar got under my skin, and I wanted to know why. But I was too unsettled to dive deeply enough into Midsommar’s world to figure out why for myself. Fortunately, Spikima does the dirty work of thoroughly answering that question in this essay. Does knowing a film’s tricks make it less horrifying?

How Movies Helped Me Process My Mother’s Death by Adam Tinius (Entertain The Elk)

Adam Tinius, from Entertain The Elk, offers a deeply personal and emotional examination of how losing his mother to cancer compared to representations of death and grief in film.

EraserNomad by Liz Greene

Greene discovers an implausible but compelling visual link between Nomadland and Eraserhead. There’s a strange echo in how Jack Nance and Francis McDormand navigate these spaces. Perhaps their characters are haunted by a similar ghost.

Ian Garwood

Senior lecturer in film and television studies, University of Glasgow

Not that anyone will be checking back, but my list this year features only names who I have not picked for previous polls.

Marion Cotillard Doesn’t Exist (And This Is the Proof) by Elena G. Vilela

Not that anyone will be checking back, but my list this year features only names who I have not picked for previous polls. I love the ‘Truman Show’ conceit of this video, which is superbly realised through dead-pan narration and an incredibly astute selection of clips.

This is an exhaustive, yet consistently enlightening and accessible, treatise on the supercut. Three years in the making, Max Tohline’s feature-length essay identifies a dizzying array of precursors to the internet-era supercut, as well as pinpointing its aesthetic and ideological effects.

This is a fascinating essay that makes an imaginative and persuasive association between the technology of cinema and the stethoscope. Its philosophical analysis of cinematic listening is pursued through a wonderful selection of clips.

Practices of Viewing: Muted by Johannes Binotto

On the one hand, Johannes Binotto’s Practice of Viewing could be seen as something of a video essayist’s manual, each entry itemising a technique associated with video essay-making processes. However, there is nothing textbook about the way these techniques are discussed: the address is passionate and wide-ranging, offering enlightenment on why these processes fascinate, rather than a ‘how to’ instruction. I’ve chosen this particular entry as it aligns with my interest in sound. It also provides an ending that resonates uncannily with the preoccupations of Mediated Auscultation – so watch them as a double bill.

[Safe] and The Neon Demon in Dialogue by Oswald Iten

Like Binotto’s work, Oswald Iten’s three-part experimental mash-up of [Safe] and The Neon Demon is accessible through videoessayresearch.org , a research website that should be bookmarked by anyone interested in the development of videographic criticism. Each of the videos combines the films according to a different founding principle, providing captivating evidence for Jason Mittell’s claim that formal parameters lead to content discoveries.

TV Dictionary —  Bron/Broen ( II ) by Barbara Zecchi

Ariel Avissar’s curation of the TV Dictionary  series was a highlight of the year, one in which I was happy to indulge as both creator and viewer. I’m really interested in the range of approaches adopted to address the same brief: to encapsulate a TV series in one word. Barbara Zecchi chooses a distinctive path by allowing a scene to play out at length first, before introducing her chosen word, and then letting the scene resume, now understood in the light of that word. I won’t spoil the surprise by revealing the pivotal word (but it made me laugh)!

Picturing the Collective: Seven Days in May by Libertad Gills

One technique showcased in the TV Dictionary series was to let a scene play out with minimal, yet still integral, textual commentary. Libertad Gills, who added an entry on Derry Girls to the collection, adopts a similarly minimalist approach to her use of captions in this video, which runs through a sequence from Affonso Uchoa’s Seven Days in May. The result is an explanatory scene analysis that displays the lightest of touches.

Tomas Genevičius

Art critic, kritikosatlasas.com

Josephine Massarella: One Woman Walking by Stephen Broomer

The Moment of Recognition: Phantom Lady and Sorry, Wrong Number by Patrick Keating

Silence in The Passionate Friends by Oswald Iten

The Thinking Machine #50: Nicholas Ray — Notes on Style by Cristina Álvarez López and Adrian Martin

Practices of Viewing: F. FWD by Johannes Binotto

Catherine Grant

Screen media-maker and publisher of scholarly video essays, and a former professor of screen studies (Website: https://catherinegrant.org )

Her first video essay and a superbly engaging work on Gen Z’s latest hub for film appreciation by the video essay’s MVP in 2021, which Queline followed up with another excellent study, The Two Worlds of Wolfwalkers . If these two huge achievements weren’t enough, Queline was also instrumental in the wonderful Essay Library Collaboration Project. Join the Essay Library Discord and check it out. And listen to Will DiGravio’s great conversation with her at the Video Essay Podcast ..

We were very lucky, at [in]Transition, the peer-reviewed video-essay journal I co-edit, to be able to publish some marvellous entries by new makers in this emergent scholarly field. Of the three I am highlighting here, one of the strongest in scholarly terms was this work that explored how one form of media (the stethoscope) might reveal something about another (cinema), and in so doing revisited some essential questions of cinema’s medium specificity in a supremely original way.

TERROR NULLIUS Unmixed by Caitlin Lynch

Given the ubiquity of global remix culture, Caitlin Lynch’s highly original proposal for a videographic research methodology designed to tackle this culture deserves a lifetime achievement award! What an amazingly useful concept ‘unmixing’ is, especially when it comes to deeply political work, like that by Australian collective Soda_Jerk. I can only agree with peer-reviewer Jaimie Baron who wrote that TERROR NULLIUS Unmixed shows that ‘the activities of remixing and unmixing, alternating in a potentially never-ending cycle, may constitute a productive strategy for grappling with our mediated traces of history, to which a definitive and closed meaning can never be attached.’

Stories of Haunted Houses: Female Subjects and Domestic Spaces in Contemporary Gothic Films and TV Series by Chiara Grizzaffi and Giulia Scomazzon

My personal favourite video essay on television and film, published in 2021, was co-authored by a new maker (Giulia Scomazzon) and by someone who is better known so far for her brilliant writing on video essays, my [in]Transition co-editor Chiara Grizzaffi (author of the great book I film attraverso i film. Dal «testo introvabile» ai «video essay»). Their collaboration produced a substantial and satisfying work, with affect like no other — a perfect combination of poetic, personal and scholarly approaches to contemporary female gothic films and tv series.

Outside the Lines by Dayna McLeod

One of the most exciting developments of 2021 was the turn to video essays made by established found footage and experimental film artists. Dayna McLeod is an internationally known Montreal based performance artist and video artist whose work often touches on topics of feminism, queer identity, and sexuality. In her first ever online video essays — on Lynch’s Wild at Heart — she shakes up the videographic universe with a wonderful fusion of personal-essay-filmmaking in a film critical vein. I really love what Dayna achieves in the incredibly concise and powerful frame of Outside the Lines.

Stephen Broomer is an internationally renowned experimental filmmaker, film preservationist, and scholar of Canadian cinema. His new turn to video essays in 2021 was both brilliant and prolific, resulting in two new series of high quality work: Art & Trash , which premiered in February 2021 with a twelve-episode first series of video essays on underground, avant-garde, psychotronic and outsider media, which his essay on Josephine Massarella inaugurated; and Detours, an equally rich new videographic series on the bruised soul of film noir . 2021 was an incredibly productive year from a remarkable filmmaker. I can’t wait for more.

TV Dictionary —  Derry Girls by Libertad Gills

My final vote in the poll (as I will retire after a long but happy stint as participant in it this year) goes to yet another young filmmaker, long interested in found footage, who is now making online video essays. Libertad Gills made my very favourite video essay, to date, in Ariel Avissar’s wonderful collaborative project TV Dictionary . Her work gets at the heart of what’s so brilliant about Derry Girls, which is no mean feat in three and half minutes, and reminds us, along the way, what a work of genius the series is.

Chiara Grizzaffi

Postdoctoral Fellow at IULM University. Co-editor of [in]Transition

Montegelato by Davide Rapp (watch trailer )

Screen Glare by Enrico Camporesi, Stefano Miraglia

Rites of THE PASSAGE by Catherine Grant & Deborah Martin

The Thinking Machine #49: The Burning House by Cristina Álvarez López and Adrian Martin

A Woman’s Place: Home in Cinema by Louise Radinger Field

Practices of Viewing: Screenshots by Johannes Binotto

How Good Filmmaking Brings a Script to Life by Michael Tucker (Lessons From the Screenplay)

Cydnii Wilde Harris

Film scholar and video essayist

I’ve always loved a good homework assignment, and I’ve particularly enjoyed seeing everyone’s responses to Ariel’s prompt. Every one I’ve seen has been a standout. I particularly really enjoyed those that used the video essay medium to play with form and tone, and really capture the essence of their chosen tv shows. But one that stuck with me in particular was Ariel’s own on Seinfeld : A real punch of text, editing, laugh tracks, and humor for the tv show about nothing. A’s all around.

Johannes’s Practices series has been such a marvel throughout the year. With every new entry, I’m confronted with his genius, and it’s been really inspiring to bear witness. Muted in particular really resonated with me. The whole series feels like an interrogation of film history, media present, while somehow remaining deeply meditative and personal. Johannes’s work, without fail, always leaves me feeling invigorated, about what I’ve just seen, and what I could possibly do.

Rio Bravo Diary by Will DiGravio

Watching the Rio Bravo Diary unfold all year has been such a treat. I didn’t grow up with any real affinity for the western, so to read Will’s essays about what this film in particular meant to him growing up and coming of age really helped me reappraise this specific film. His transparency has been really revelatory to see, and I really appreciate how he’s invited us all to get to know him a little better through this year-long project. Further, the consistency and discipline of dealing with a single text for a full 365 is such an interesting experiment in the first place.

It is so, so cool to see someone top themselves so consistently. The things Jessica accomplishes here, the introspection, the way she was able to tackle the issue of accessibility while also broadening the topic, the interplay between film, the internet, and the various windows surrounding us all from literal glass panes to phone, tablet, tv, and theater screens. I don’t think I’ve ever wished a video essay would keep going while also being so impressed by how perfectly it ends. It’s just so dynamic in every sense of the word, and incredibly well done.

let’s talk about sexless media | feminism, christianity, violence, etc by wit and folly

This is a video essay that somehow managed to synthesise an online conversation with such care and context that I can’t help but share it with friends. What they accomplish is one of my favourite forms of video essays on YouTube. It’s informative, well researched, yet personable and accessible. Their argument flows really nicely, and the citations do a lot to back up the personal statements made. It also really nicely laid out something that maybe I had felt about a recent media trend, but hadn’t yet been able to articulate myself. If I had to answer the question of sex scenes in films, I would simply point to this video essay as my answer.

Gab the Goat (ft. Yhara Zayd): A Celebration of Gabrielle Union & An F-U to Colorism and Tokenism by Melina Pendulum

I’m so happy I waited to submit, because these are two of my favourite video essayists discussing one of my favourite actresses (I’m also happy because it means I get to nominate them both under a single entry). I think sometimes we have a knee jerk reaction to group projects, and I think this video essay is a perfect example of how to combine two distinct voices and visions into a single project. The exploration into Union’s career is long overdue and so deserved. I think what struck me most was how strong the voice was. They make no apologies for their stance, and really challenge Hollywood to not just reflect but act. They really manage to ask some tough questions of not just the Hollywood system, but those that benefit from it. It’s theory with praxis and it’s all deliciously powerful.

Oswald Iten

Film scholar, video essayist, animator, PhD researcher

‘The Lighthouse’ (2021) by Leonardo Govoni, Cristina López Caballer, Mehran Abdollahi

Amuse-œil by Eric Faden

Barbara Stanwyck Rides Again by Shannon Harris, Catherine Russell

Sound and Silence in Gravity: Fidelity vs Intelligibility by Jordan Schonig

Special Mention: A Supercut of Supercuts by Max Tohline.

Miklós Kiss

Associate professor in audiovisual arts and cognition at University of Groningen, NL / co-author of Film Studies in Motion: From Audiovisual Essay to Academic Research Video

A wonderfully rich follow-up of Visual Disturbances (on my S&S best of list of 2019) on the analytical urge of ‘interrogating’ filmic images, obsessing on a rather invisible 1.14-second-long shot from Citizen Kane, and on those ‘small gifts for the eye’ that subtly but abundantly appear in Playtime. Like I said earlier: Faden’s care for quality is admirable and inspiring.

Mike Figgis on Timecode and Split-Screen Cinema by Leigh Singer

The COVID pandemic has normalised a once special technique of split screen, forcing its ‘cubist psychology’ on us while locked in our homes with only virtual split-windows to the world. Singer’s interview with Mike Figgis, director of the quadruple split screen film Timecode, is a highly informative, superbly comprehensive, and abundantly illustrated walkthrough of the (cinematic) history and effect of the technique.

Robert Eggers’ The Lighthouse, but as an ethnographic documentary exploring the life of lighthouse keepers in the early 20th century, directed by Robert Flaherty. An ‘ethnographic screwmeneutics’ project by the students of my Videographic Criticism course at the University of Groningen.

A massive (two hours!) video on supercuts, covering every possible angle on the technique, thereby forcing all the other supercut-researchers to find another subject of study.

Keating, with his signature analytical thoroughness, walks us through his audiovisual thinking process, distinguishing between camera movements delivering characters’ ‘revelation’ and ‘recognition’.

VR supercut diorama, the first of its kind, piecing together 180 films, TV series and commercials of the Monte Gelato waterfalls (near Rome) in 3D and with spatialised audio. Great idea, incredible effort, and superb implementation. Cinephile goosebumps are guaranteed!

Jaap Kooijman

Associate professor in media studies, University of Amsterdam, organiser ASCA videographic criticism seminar

The Black and White Coffee Set by Barbara Zecchi

Barbara Zecchi’s The Black and White Coffee Set is brilliant in its simplicity. The focus on one prop (he black-and-white coffee set in Ana Muylaert’s Que horas ela volta?) and the way the design of the audiovisual essay aesthetically repeats it, effectively work together to show the narrative importance of a seemingly mundane object. While its playfulness makes the audiovisual essay enjoyable to watch, its more ‘serious’ argument about Brazilian class and race relations remains clear throughout.

Staring Back by Sara Delshad

Although Staring Back works perfectly well as a study of auteurism, convincingly showing a signature style of filmmaker Chris Marker, Sara Delshad’s audiovisual essay stands out for me in the way it forces the viewer to become aware of their own subject position. The audiovisual essay highlights the human and non-human animal subjects staring back at the camera and, in extension, at the viewer. Those moments when the subjects answer the viewer’s gaze evokes a feeling – at least in me – of being caught staring. Delshad cleverly uses slow motion and freeze frame to enhance this sensation.

Sonic Chronicle, Post Sound by Cormac Donnelly

Some audiovisual essays really teach you something new. In Sonic Chronicle, Post Sound, Cormac Donnelly applies R. Murray Schafer’s definition of the soundscape to sonically analyze the newsrooms scenes in Zodiac, The Post, and All the President’s Men. Donnelly uses both sonic and visual techniques to make sound tangible, enabling those with untrained ears, like myself, not only to pay attention to, but also make sense of sound.

Evelyn Kreutzer

Postdoctoral researcher, Film University Babelsberg Konrad Wolf

Practices of Viewing: Mask by Johannes Binotto

I always attempt to curate my suggestions for the annual best video essays lists in a way that represents the breadth of video-essayistic output. Binotto’s Practices of Viewing series reflects sophisticated, in-depth, and yet very accessible and informative introductions to film-analytical concepts that are very suitable for both teaching purposes and film-scholarly thinking more broadly. I like Mask in particular because it evokes multiple layers of cinematic framing and spectatorship that seems to speak intuitively to our current moment of increasingly ‘masked’ experiences of the world.

Silence and Words: Voice-over and Trauma in Coixet & Campion by Barbara Zecchi

Barbara Zecchi’s video essay is a powerful, deeply affective video on cinematic sound, specifically the transcendence of internal and external sound (experience and narration). As a sound scholar, I always look and listen for videos like these.

The Typewriter (Supercut) by Ariel Avissar

Ariel Avissar’s video is less an academic video essay than it is an impressive, entertaining, and insightful supercut of a single object/motif across numerous media sources that is simple in its conceptual premise but very sophisticated in its execution and certainly provocative of critical reflexion.

TV Dictionary —  Marcella by Barbara Zecchi

Like the entire TV Dictionary  series (curated by Ariel Avissar), Barbara Zecchi’s video on Marcella turns the seemingly narrow pairing of a dictionary entry to a TV series into a multi-faceted, scholarly evocative, and visually stunning exercise. I like the whole series but so far this entry has been my favorite.

Video essayist

I don’t know what I was doing this year, but apparently it wasn’t watching a whole lot of videos, so no ‘hidden gems’ from me this year. But these three entertaining and engaging videos, while popular in terms of views, may have slipped through the more academic net. So enjoy!

Space Jam 2 is a Lie by John Walsh (Super Eyepatch Wolf)

I’m a sucker for some fiction, and Super Eyepatch Wolf sure knows how to have fun with the video essay format, making some of the most creative uses of the form. This video was a stand out for me this year.

The Battle of SHARKS ! By CGP  Grey

A charming story of the battle between art and city council planning permission, I don’t know if I’ve ever finished a video feeling more giddy and delighted. Review from my mum: “That video is worth more than every other video on YouTube put together, and deserves an award.”

CO - VID s: the 90’s neoliberal fantasia as experienced by daria morgendorffer, millennial by Ian Danskin (Innuendo Studios)

A wonderful defense of a defense of millennial teens, and an account of millennial nostalgia, which I am already nostalgic for. Ahh 28th Jan 2021, when I was still so full of hope for the year ahead. Ian Danskin continues to make exceptionally engaging videos from a deeply personal perspective that perfectly balances anecdote and academia.

Kevin B. Lee

Video essayist and educator; @alsolikelife

Three Minutes: A Lengthening by Bianca Stigter (watch trailer )

Three minutes of home movie footage taken in 1938 are explored through an impressive array of videographic techniques to create a vast and deeply moving contemplation on lives lost and history regained.

Also: ‘One Thousand and One Attempts to Be an Ocean’ by Wang Yuyan (watch trailer ), whose epileptic temporality goes in the polar opposite direction to achieve its own revelatory experience of the extreme online present.

Home When You Return by Carl Elsaesser (see details )

Stretching and blurring the boundaries of video essay, experimental film and home movie, traces of a 1950s homemade melodrama by amateur filmmaker Joan Thurber Baldwin intermingle with a mournful homage to the author’s grandmother and her vacated home. A powerful mélange of cinematic and domestic spaces, past and present.

Also: Screening Room: On Digital Film Festivals , by Jessica McGoff

Launched this year, this series currently consists of five video essays, each concerning a different method through which viewing is mediated (muting, screenshot, pausing, fast forwarding, masking). With an arresting combination of playfulness and obsessiveness, Binotto re-performs and reflects upon the techniques that govern spectatorship.

Also: Amuse-oeil by Eric Faden

What Isn’t a Video Essay? By Grace Lee (What’s So Great About That?)

YouTube video essays have generally bloated into hours-long vlogfests to maximize monetization algorithms, but here is a rigorously crafted tour de force that rewards rewatching for the many memeic details it contains. It breathlessly performs a mind engaging the internet on its own terms, utilizing the temporal and audiovisual affordances of always-on networked life to reflect thoughtfully back upon itself.

Also: The Scholarly Video Essay by Ian Garwood. Garwood demurs from calling this a video essay, but they certainly demonstrate how pre-recorded lectures can evolve from a lowly COVD -era necessity into an arresting videographic form in its own right.

This was released just around last year’s poll; since then it’s become a go-to reference for film dinosaurs like me to make sense of how film culture can thrive among a new generation and its preferred platforms.

Also, this .

Transitional Moments in Cinematic Virtual Reality by Sarah Atkinson

A critical and revealing interrogation of the gender (en)coding of virtual reality as it has been presented in cinema, implicitly calling for a more inclusive re-coding of these mediums not only as a means for entertainment but for social co-presence.

Also: Michael Ironside and I by Marian Mayland (watch trailer )

The Best Simpsons Episode is About Losing Everything You Love by Jacob Geller

As also evidenced in his The Game That Won’t Let You See All of It , Geller is able to narrate the YouTube video essay and its pop culture preoccupations into areas of uncommon sensitivity and existential poignancy.

Also: Mad Men’s Babylon: Mapping out a Musical Metaphor by Ariane Hudelet

Adrian Martin

Film critic and audiovisual essayist

Satirical pastiches are good when they are accurate, and this one is so accurate it manages to satirise several things at once, from nerd-fan culture to the Kogonada craze.

Prendre conscience / perdre connaissance by Occitane Lacurie

The smart conjunction of Last Year at Marienbad and Westworld via a quote from surrealist cinephile Robert Benayoun – I could hardly ask for anything more.

Most audiovisual essays depend on some level of prior film analysis, but not so many are actually very good at really achieving an analysis above the most obvious and basic undergraduate level. Keating is an excellent analyst and he turns his insights into finely constructed montage pieces, like this one.

A lot of so-called remix culture simply, from Adam Curtis downward, simply celebrates the brute fact of being able to sample and throw things together — often quite incoherently. Lynch’s superb work takes a patient strategy of unmixing to comment on those genuine remix masters, the Soda_Jerk team.

Vedette — For Laura Mulvey by Catherine Grant

Catherine Grant’s dispositifs of audiovisual comparison, often with an inscribed text component, can look deceptively simple. This one revealingly lines up words from Laura Mulvey’s recent work with breathtaking passages of two classic Max Ophüls films.

Dialogue III : CAROL / JESSE by Oswald Iten

This is the culminating and best work in Iten’s series interweaving Todd Haynes’ Safe and Nicolas Winding Refn’s The Neon Demon. More than a matter of demonstrating the banal influence of one film or filmmaker on another, this audiovisual essay achieves a dreamy, hallucinatory intensity and texture.

Secrets of Ghosts by Johanna Vaude

If you’re going to re-imagine a pre-existing film in a new and creative montage, really push it to something extreme. Vaude, among the most masterful of all practitioners in this field, works her special magic on Mulholland Drive, part of her series of ongoing commissions from Arte’s BLOW UP  program.

Daniel Mcilwraith

Video essayist and video editor

in process… | james benning at neugerriemschneider by Erika Balsom

The Representation of Rape on Screen by Lucie Emch

Alan O’L eary

Associate professor of film and media in digital contexts at Aarhus University. His manifesto for a parametric videographic criticism was published this year in NECSUS .

Nuit Debout/Up At Night by Nelson Makengo (watch trailer )

Congolese artist-filmmaker Nelson Makengo spreads his portrait of Kinshasa, a city beset by power cuts, across three screens punctuated with bare lightbulbs and the dancing beams of torches, the whole underpinned by an evocative sound world of generator noises, off-screen conversations and voices from the radio. Some participants at the ethnographic film festival where I saw Up At Night complained they found the three-screen format distracting, but it is precisely the reflexive use of multiscreen—sometimes showing identical images, sometimes different, and sometimes nothing—that places Up At Night in the essay film tradition and lifts it clear of documentary or auto-ethnography.

Obliged to placate a UK funding system structurally suspicious of academic and artistic enquiry, Screenworks , the journal of practice research in screen media, insists on a detailed setting out of research questions and social impact for each of its video publications. Elisabeth Brun duly complies in the statement accompanying her intimate and spectacular 3 x Shapes of Home, but the film contains all the elements it needs to explain itself. I love how it’s unsatisfied with, and unafraid to compromise, its own beauty, and how the playful voiceover interacts dynamically with content and form. It’s a sensual and conceptual treat.

Ian Garwood has used tweets as ‘research outputs’ in a novel way as part of his Indy Vinyl project (see his 2020 article in NECSUS ) but Will DiGravio has actually deployed the structural affordances of Twitter in his year-long analysis of Rio Bravo. In 365 daily tweets, DiGravio methodically posted 22-second clips from Hawk’s film prefaced by an observation or reaction in 280 characters. This is ‘video/essay’ as iterative performance rather than reporting of analysis and I like to think of it in the tradition of Barthes’ S/Z, where scientific method is pushed to absurdist (and intensely personal) ends.

The Television Will Not Be Summarized by Elizabeth Alsop

Elizabeth Alsop is concerned in this video essay with an ‘exhibitionism’ that resists and exceeds plot summary in shows like The Leftovers, Hannibal and Twin Peaks: The Return. Alsop talks in her [in]Transition creator statement of confronting the methodological challenge of dramatizing (rather than summarizing) spectacular televisual phenomena without merely appropriating their rhetorical force. I admire how she meets this challenge with wit and economy (and without voiceover) through a combination of sound and cryptic imagery, multiscreen and onscreen text. The framing sections effectively stage the meditative experience of the extended extracts that form the central bulk of the video essay.

OUT OF PLACE (Or, Lost in NOMADLAND ) by Catherine Grant

Apparently, Catherine Grant has asked not to be mentioned in this year’s poll, but it would be strange to omit our leading role model in ‘filmmaking research’ (Grant’s preferred term). Anyway, I have chosen an epigraphic video I don’t particularly like. Grant’s treatment of onscreen text is exemplary, as ever, but the quote from Sarah Ahmed is coercive and folksy, while the juxtaposition of quirky music and looped images of Frances McDormand risks whimsy. The point for me, though, is that this sketch forms part of a broader practice that is always more than the sum of its video parts.

He Almost Forgets That There Is a Maker of the World by Ben Spatz, N. Eda Erçin, Caroline Gatt and Agnieszka Mendel

In this essay, onscreen text is used to annotate a 30-minute single-take recording of researcher-performers using speech, song and body to interact with books and each other to investigate some meanings of Jewishness. This ‘illuminated video’, as maker Ben Spatz dubs it, is an expression of what Spatz refers to in a series of writings as ‘the video way of thinking’ (see 2018 article of that name and the 2020 book ‘ Making a Laboratory ’). What I particularly value here is the idea and practice of essay-making as an experimental situation rather than as the mere documentation or reporting of research.

Julian Palmer

YouTube video essayist, The Discarded Image

A trip into the video essay metaverse, but done in a unique and funny style that makes potentially academic content propulsively entertaining.

Using a combination of self-shot footage (mostly churches) and some of the great existential films from Bergman, Schrader, Tarkovsky, Malkick, etc, LSOO explores why he’s drawn to religious art and architecture, without being overtly religious himself, which I can relate to.

The Invisible Horror of The Shining by Kristian T. Williams (kaptainkristian)

After being away from the scene for two years, it was great to see the return of Kristian’s trademark slick style. He takes arguably the most talked to death film of all time, and makes it fresh.

Why Is Bo Burnham’s Inside like That? by Thomas Flight

Clearly inspired by Bo Burnham’s groundbreaking achievement, Flight applies many similar techniques—with numerous camera set-ups and video essay styles—to explore that work in a wholly original way.

The Transformation of Anthony Hopkins by Luís Azevedo (Little White Lies)

A touching and creative tribute to the legendary actor. Azevedo has Hopkins in dialogue with himself, creating an emotional journey through his many roles.

I’m sure we all use movies to guide us through the toughest times. And this emotionally raw video uses them as a way to remember a loved one, and deal with a devastating loss.

Jemma Saunders

Audio-visual PhD student at the University of Birmingham

Epigraph —  Grand Budapest Hotel by Owen Mason-Hill

Concise videographic epigraph that explores and pleasingly manipulates colour, maintaining an Anderson aesthetic throughout.

Documentary as a Genre of Fiction by Oscar Mealia

A complex reflection on documentary storytelling that focuses on Orson Welles’ F for Fake and includes a performative element from the creator. Rich in its academic grounding and playful in execution.

Audiovisual Film Criticism and Cosmopolitanism ( AKA The Haunting of the Headful Academics) by Ian Garwood

A video essay that ate other video essays. This really resonated with me, not only for its acknowledgement and incorporation of the Zoom space we have inhabited for much of the last two years, but for the important questions it poses about how we choose our material as essayists.

I just find this joyous to watch: beautifully paced and a brilliant example of how the supercut can reveal as well as revere.

This is a powerful and haunting piece of work. In slowing down, repeating, and zooming in to archival footage, it forces the viewer to confront and re-engage with what may seem familiar images of the Holocaust.

BBC Inside Cinema series

Many of these bite-size explorations are essentially well-crafted compilations with voiceovers rather than more experimental or academically essayistic pieces, but I learn something every time I watch one. There’s an eclectic range of topics, from uncanny spaces and nuns on film; to examinations of the macguffin and credit sequences.

An Investigation of Colour in Black Mirror by Matt Cook

I’m a firm believer that any video essay should make the most of the form and this is a strong example of an undergraduate doing just that through employing various audio-visual techniques to develop his argument. It’s great to hear a regional accent too!

Daniel Schindel

Associate editor, Hyperallergic

ACTION BUTTON REVIEWS Tokimeki Memorial by Tim Rogers (Action Button)

Tim Rogers transitioned from being a leader within New Games Journalism to producing some of the most in-depth video reviews about video games and how they create meaning. This epic six-hour essay goes in-depth on a little-known Japanese romance game, including summaries of two playthroughs of it. In line with the rest of Rogers’s work, it is not merely about this game, but about a sprawling, branching series of fascinating tangents around interpersonal relationships and how interactive art can engage them.

Why Don’t the Cops Fight Each Other? by Grayson Earle

A terrific example of found commentary in pop culture. The designers of Grand Theft Auto V likely didn’t intend to make a statement on the ‘Blue Wall of Silence’, but by programming police officers not to attack one another, no matter what, they unwittingly replicated real-world dynamics. Earle turns his tinkering with the game’s code into an intriguing investigation into media message-making.

Identity: A Trans Coming Out Story by Abigail Thorn (Philosophy Tube)

This is the least ‘essay-like’ work on my ballot, but Abigail Thorn is pushing the creative envelope so much within the field of popular YouTubers that I feel she deserves mention. One thing I love about Philosophy Tube is how Thorn finds a way to incorporate the concepts she discusses into the forms of the videos themselves. Here, she makes clear the performative nature of gender by having a cis male portray the closeted, male-presenting version of herself. The moment when that actor steps aside and Thorn comes out (sorry) is one of my favourite in any video this year.

The way that Binotto scrutinises the structures and conventions of digital modes of viewing through the lens of analog interfaces is consistently engrossing. It’s always a treat each time a new instalment in this series pops up.

There had to be something here acknowledging the pandemic, and McGoff’s literate and deeply considered rumination on the experience of a virtual film festival spoke more to my supremely odd times as a cinephile under lockdown than anything else I’ve seen on the matter.

The History of the Atlanta Falcons by Jon Bois, Alex Rubenstein, Joe Ali

Jon Bois might just be my favourite documentarian working today, and I have a strong suspicion that soon a lot more internet videos are going to be taking cues from his work. This multipart look at the trials and tribulations of the Falcons is a longform study of failure in all its myriad forms. In the hands of Bois and his collaborators, we see in this team a devastating series of near-misses, could-have-beens, and lost opportunities. Sports narratives often focus on snatching victory from the jaws of defeat; who knew the opposite could be so engrossing?

My only complaint about Grace Lee is that she doesn’t upload more often! Especially since in her recent work she’s demonstrated an incredible visual sensibility, casually packing tons of information — jokes, easter eggs, and more — into every shot. This video is near and dear to my heart because it speaks to my own struggles to define video essays, and my gnawing feeling that sometimes we might be getting too permissive with the term, or alternatively too restrictive. Few essayists explore this kind of ambivalence as well as Lee.

Shannon Strucci

Video essayist,  StrucciMovies

how i would defeat the immortal snail by Faline San

Faline San’s videos are typically anecdotes about her life or explanations of her thought process regarding bizarre niche topics. They caught my attention due to her quick pacing, engaging storytelling, her finely-tuned (and very funny) editing style, and her self-deprecating sense of humor. how i would defeat the immortal snail is a great example of this – it’s essentially a ten minute rant about a Reddit thought experiment , but it’s very funny and complex. This is especially impressive considering she is still a teenager, and I look forward to seeing what work she produces in the future!

The Bizarre World of Fake Psychics, Faith Healers, and Mediums by John Walsh (Super Eyepatch Wolf)

John’s essays are always funny and thought-provoking and he had some more avant-garde videos this year that pushed video essays as a medium (specifically his Space Jam and Dell nightmare videos, which I’d also recommend) but his fake psychics video stood out to me as something with the potential to help save a viewer from being taken advantage of, which is tremendously valuable. It’s dense with research and history and comes from both a place of anger and empathy. It’s a fantastic video.

Scout Tafoya

Johannes had a hell of a year. This whole series is superb.

Tenderness — Rio Bravo Diary by Will DiGravio

De la femme by Caterina Cucinotta and Jesús Ramé López

Reimagining Blackness and Architecture ( MOMA ) by Russell Yaffe, Rafael Salazar Moreno ( RAVA  Films)

Great series.

Our Focus by Kevin B. Lee

Max Tohline

Independent media scholar and video essayist

Flight of the Navigator | VFX Cool by Alan Melikdjanian (Captain Disillusion)

Captain Disillusion’s videos debunking viral hoaxes or misinformation about visual effects wizardry have been top-tier YouTube content for years, but nothing could have prepared me for this ravishing deconstruction of the technical magic in the cult-classic Flight of the Navigator. I don’t have euphoric superlatives extreme enough for how I felt watching this video the first time — not only does C.D. use VFX to analyze VFX (probably the final boss of videographic criticism); his attention, research, wit, obsession, and good old fashioned formal analysis blow everything else out of the water.

Though it has stiff competition from Faden, Keating, Mittell, and others, Mediated Auscultation is my favorite peer-reviewed essay of the year. Like many film scholars, I’ve never given enough attention to sound — precisely because sound never struck me as being essentially ‘cinematic’. But Talijan shows that cinema’s promise of immersive sensing from a distance applies as much to sound as image. The icing on the cake is that while plenty of video essays are ‘meditative’, few have made the tone demonstrate the argument as Talijan does here, with the audio putting me in a near- ASMR  haze.

I never realized it was possible to deploy a parody of a video essay (in this case a classic on neorealism from kogonada) in the service of an argument that is not only NOT a joke, but possibly richer than that of the original. Whereas kogonada merely illustrated a reasonably conventional understanding of the difference between de Sica’s style and classical Hollywood style, Avissar completely overturned my narrow-minded received takes on Snyder by offering me a different mode of attention. Even if an ambiguity remains as to what Snyder’s style ‘means’, I’ll never pigeonhole him the same way again.

No Face Is an Incel by CJ the X

Generally I’d exclude wall-to-wall-talking-head channels from a list of great video essays, but CJ the X is in the middle of an annus mirabilis. So, for those who don’t have the 2.5 hours for CJ ’s urgent cry-of-the-soul Burnham/Bezos essay , here’s an intoxicating 100-mile-an-hour sprint of an essay that performs a Žižekian looking-awry on Spirited Away that might not be dressed up in academic finery, but has a more nimble intellect than many who’ve put up with the steamroller of peer review.

As we enter the eighth or ninth wave of rumination on what ‘counts’ as a video essay and how to think videographically, Johannes Binotto has become the undisputed master of reflection on the everyday practices of viewing that form the foundation of what video essayists do. Watching his ongoing Practices of Viewing series (in particular the one on the screenshot, but also others on pausing, fast-forwarding, muting), I felt like I’d found Arne Saknussemm’s name scratched into the cave wall— a fellow traveler.

eye / contact by Niki Radman

This essay takes its time and a good deal of text setting up its argument, but when it finally unveils its purely visual denouement — a 3x3 grid of images that jaw-droppingly links one note of Barry Jenkins’s formal language with his whole symphony of themes surrounding identity — I felt like I was gonna turn into drops.

Inside: Are Video Games Art? by Arttective

The tip of the YouTube iceberg conceals a Sierpinski triangle of icebergs beneath it — so many that it’s mathematically remarkable that any individual essay ever made it to my eyes at all. Had I not met Arttective on the Essay Library Discord server, I wouldn’t have seen this gem, which uses the rewind and skip keys on YouTube to inject some tantalizing interactivity into the grammar of the video essay. But I’m so glad I did: the experience is engrossing. If anyone out there solves the puzzle in this video, please let me know the answer!

David Verdeure

Creator, collector and curator of video essays under the nom de video Filmscalpel

The pandemic proves fertile ground for video essays. Changing film distribution models mean movies are available sooner to audiovisual critics. In-person and live events have been replaced with pre-taped materials, creating another vein of visuals for video essay makers to tap into. We’re often confined to our personal visual echo chambers that are filled with screens that confound as much as they clarify. And that we’re forced to spend more time in close quarters may also contribute to the unmistakable trend that video essays are getting longer. In 2021 audiovisual strategies that are common to the video essay popped up everywhere. In academia and the arts. In news broadcasts and film festivals. In talk shows and on TikTok. These are just a few remarkable examples.

In his feature-length video Tohline gives an overview of the history, the aesthetics and the modus operandi of the supercut. He examines the tension between its dueling impulses of (fannish) desire and serious analysis, and he proposes strategies to increase the form’s critical impact. But most important is how Tohline regards the supercut not as a mere editing technique but as the material expression of a specific and novel way of thinking. We try to make sense of the world by ordering it into either archives or databases, and the supercut is the poster child for that database mode.

Just when you think the whole supercut model has been mapped, along comes an innovative application of this strategy. Davide Rapp combines clips of the Monte Gelato waterfalls near Rome into a 28-minute VR collage. Scores of rectangular film and television scenes together form a full circle, recasting the role of the spectator from immobile viewer in a theater seat to participatory flaneur. Montegelato is an immersive three-dimensional palimpsest that puts the viewer at the center of this nexus of cinematic storytelling: a location that inspired filmmakers working across different genres, in different times and with very different means.

Gyres 1-3 by Ellie Ga (watch excerpt )

American artist Ellie Ga’s single channel video installation Gyres 1-3 is another example of how to put an inventive spin on a classic videographic strategy. This is a desktop video essay of sorts, with the desktop being a light table onto which she arranges and rearranges transparent photographs. Her essayistic voice over narration is triggered by the succession of (often) archetypal images that serve as lodestars for the video’s loose narrative structure. But unlike the more traditional virtual desktop, Ellie Ga’s physical handling of the transparent slides adds a tactile and more personal touch to the process.

Under the White Mask: The Film That Haesaerts Could Have Made by Matthias De Groof (watch trailer )

In 1958 Paul Haesaerts made Under the Black Mask, a documentary on Congolese art. That Belgian film was formally inventive but it also perpetuated racist stereotypes. Scholar and filmmaker Matthias De Groof remixed Haesaerts’ film into a scathing critique of colonialism. He combined the footage of mute masks with an impassioned voice over by slam poet Maravilha Munto. In Haesaerts’ version, art hid atrocities. Aestheticism was used as a mask for the ugly face of colonialism to hide behind. This powerful remix tears off that mask: it uses exactly the same artistic means but reclaims their critical potential.

Cinema Turns: Catalan Creative Documentary by Celia Sainz

In this beautifully paced and expertly constructed video essay Celia Sainz focuses on a quartet of documentary films made in Catalonia over the past two decades by female filmmakers. She does not seek to ascribe a collective national identity or ideological agenda to these works but looks for shared artistic (cinematographic and narrative) strategies. Like the creative documentaries it studies, this video essay uses time and tone to drive home its points. The assured audiovisual approach and well-judged rhythm of this piece are part and parcel to its intellectual and affective impact.

Lucie Emch’s video essay deals with the troublesome on-screen representation of rape. She starts off in a conventional way but then brings music videos into the mix. The video essay really hits its stride when it mashes up Jenny Wilson’s RAPIN * music video (from 2018) with Ida Lupino’s film Outrage (from 1950).

This fine piece was published by Tecmerin. That online journal deserves to be lauded for its persistent efforts to bring to the fore the work of video essay makers who are not native English speakers, and for the fact it reviews and publishes pieces in many different languages.

Barbara Zecchi

Professor and director of the film studies programme, University of Massachusetts Amherst

The most intelligent video-essay I’ve seen on sound (or rather, on lack of sound) in cinema. Brilliant!

With over 40 works to date, Ariel Avissar’s intelligent project has certainly accomplished its expected goal of increasing the video essay’s interest in television products. It has also achieved a less expected result: it strengthened a community of video essayists who have engaged playfully in this almost addictive collaborative endeavor.

Film Thought 1. Will the Plausible: On FIVE CARD STUD by Will DiGravio

Skillfully produced (superb storytelling and rhythm), this video-essay takes full advantage of the form’s possibilities by centering in a simple perceptive observation. A little gem which marks the beginning of a promising new series by Will DiGravio

Cinephilia translated into an audiovisual essay at its best. A deeply personal and emotional account of Adrian Martin’s love for film and for film analysis becomes one of the best pieces I can think of on a rigorous and theoretical reflection on the video-graphic essay as a form.

Public Controversy and Film Censorship. The release of All Quiet on Western Front (1930) in Berlin by Manuel Palacio y Ana Mejón

I saw this video-essay for the first time when Ana Mejón presented it at the video-graphic webinar organized by the Universidad Carlos III de Madrid in September. I was immediately impressed. It’s a superbly crafted video-essay that condenses thorough and serious work of scholarly research.

A powerful and chilling work that did not go unnoticed at the Adelio Ferrero Festival, Italy. I look forward to the multi-modal project that will be published in the upcoming issue of Research in Film and History together with this video-essay.

It’s so smart and funny, and, as Jason Mittell said, it “speaks to many of us.”

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10 Great Common App Essay Examples From Accepted Students

Prompt 1 Examples

Prompt 2 examples, prompt 3 examples, prompt 5 examples, prompt 6 examples.

When applying to college, few tasks seem as daunting and pivotal as crafting the Common App essay . This personal statement offers more than just a chance to showcase writing skills—it's a unique opportunity to share your story, illuminate your personality, and convince admissions committees that you belong on their campus. At Crimson Education, we understand the challenge and importance of this task. That's why we've compiled a selection of standout essays from past students who have successfully navigated the complexities of the Common App.

In this blog post, we'll dive into real student essays that correspond to this year's prompts. Each essay example is followed by a detailed analysis of what makes it effective, offering insight and inspiration for your writing process. These reviews have been meticulously crafted by our founder, Jamie Beaton, to provide you with expert guidance. Whether you're exploring your background, reflecting on a challenge you've overcome, or sharing a passion that consumes you, these essays serve as a guide to help you craft a narrative as compelling as your journey.

Join us as we explore how these applicants have turned personal anecdotes into acceptance letters and how you can do the same.

Please note: As of now, we do not have any example essays for the newly introduced Prompt 4. We are actively seeking standout essays that address this prompt and will update this blog post as soon as we have some great examples to share.

What Makes a Good Common App Essay Response?

A strong Common App essay should reflect the applicant's unique voice and personal experiences while adhering to the following criteria:

• Writing Quality : The essay should be extremely compelling in language and structure, lyrically written, playful, or artistic in its engagement with the material. It must be well-constructed with clear and coherent sentences.
• Personal Voice : The essay should be written so personally, with descriptions and storytelling so unique, that only the author could have written it.
• Level of Authenticity : Every sentence should be more than just plausible, but remarkably well-conceived and thoughtful. The student should demonstrate a sharp aptitude for connecting their experiences with broader insights or issues.
• Value System : The essay should demonstrate a profound understanding of their personal growth, consistent and abiding humility, and a strong understanding of the value of relationships rather than personal gain.
• Insight : The essay should demonstrate unusually deep insights into the described experience and clearly illustrate a profound takeaway.
• Bonus Points : Essays that successfully discuss a difficult topic or tackle an unusual or extraordinary idea in a compelling and impactful manner can earn bonus points.

Common App Essay Rubric

“Some students have a background, identity, interest, or talent that is so meaningful they believe their application would be incomplete without it. If this sounds like you, then please share your story.”

Mischling meitschi: embracing a multicultural identity.

'Es isch es Meitschi!' My mother always tells the story of her first sight of me. Through an epidural-induced fog, she sees a purple ball held by a doctor screaming, "Es isch es Meitschi!", which translates to "It's a girl!". However, my Caribbean- American mother, having only been in Switzerland for a couple of years and not understanding all of the Swiss-German dialect, heard, "Mischling" - Half-caste - until my Swiss father clarified the correct translation. Now both, "Meitschi" and "Mischling" are accurate, but any form of German screaming is usually terrifying, understandably. As humans, we want to belong: To a piece of earth. To a group of people. To an idea. Every human being feels the need to belong to something. It is why we conform to social expectations and shun people who act outside the norm. When you stem from two different races, two different countries, two different ideas of who you're supposed to be, people tend to struggle with that dichotomy. Thus, my life of being asked, "What are you?" begins. The first time, I was fourteen years old and incredibly confused. Now, I can easily say that I see myself as both, whether it is black and white, American and Swiss, or whatever division I am placed in. I know that I do not act like I am a part of a hip hop music video, but that does not make me any less black. Similarly, I should not have to wear Lederhosen and yodel to prove I am Swiss. Yet, my predilection for multiple identities did not come without its challenges. My struggle with my identity always came from other people. Up until I was about ten years old, I saw myself as a petite Caucasian girl with light brown hair and blue eyes (for the record, that looks absolutely nothing like me). Growing up in Switzerland, a very racially homogeneous country, white was all I saw. Not just the snowy Alpine mountainsides, but also the families that were skiing down them. For most of my childhood, I was unconsciously ignorant of my racial and cultural disposition, even though I was consistently the only person of color in a room. It quickly became a novelty at school that I was fluent in two languages. The first time I remember acknowledging my "complex" racial makeup was when we were visiting family in Barbados, and my dad was the only white person around. Seven-year-old me went up to him and patted his arm: "It's okay, I understand." Now, I have observed being mixed, and multicultural gives me a unique comprehension of different cultural mindsets. It has made it very easy for me to assimilate and understand people's points of view. I'm not inclined to assume a person's identity based upon heritage and ethnicity alone. Making friends and connecting with people is something I've never struggled with. Because people can't immediately tell my heritage, they don't have any preconceptions of me and free themselves to ponder, "Is she one of us?": all to the point when at age five, traveling in Morocco, I would join the kids on the street playing games even though we had no way of communicating. They just assumed I was one of them. These experiences have made me more confident in myself. By never letting myself fall into a single group, I have gotten to know myself well. After hearing "What are you?" enough times, you naturally think about the answer a lot. Being equally both as neither with respect to my identity comes with its prizes and pitfalls, but losing that identity means I would lose what made me a "Mischling Meitschi" in the first place. The interpersonal connections I have made outweigh the several-minute-long explanations of where I'm from and the temporary confusion when asked to tick boxes on my race. Being who I genuinely am requires multiple boxes.

This is a strong personal statement for which I assigned two bonus points. These bonus points represent the student’s discussion of culture and identity in a sophisticated and unoffensive way, as well as the clever intro to the piece. I spoke about the intro to the side of the essay and how its complexities reflect the complexities of the student’s mixed identity. It’s a gripping start to the essay and makes us want to continue reading.

The student also tackles a culture issue in a way that is relatable to others of mixed background and readers on the outside. There is a familiarity of language and tone here that’s refreshing and welcoming. Small asides pull the reader further into the piece and make us invested.

Finally, the student takes abundant time setting the scene and their early life, and it’s well worth it. They provide the reader with adequate context for where they’re coming from, which allows us to be right alongside them on the journey. This is a great way to get your readers invested.

Essay Score

Unraveling identities: a journey of self-discovery.

Opening my window shade, the sun’s rays begin to pierce through the cabin, and the earth below my seat begins to come into focus. With each passing minute, treetops canvassing the landscape and fluorescent road lines begin to peer through the blanketing clouds.    As the scurry of gate preparations intensifies, chatter begins to penetrate the constant hum of the engines. With the cabin coming back to life, I stare at the wings as they cut through clouds and begin to wonder who everybody is.    Since I was a child, I have been obsessed with finding the unique aspects of others’ backgrounds, never ceasing to ask questions and excitedly seek answers. I am always exploring beyond the surface of one’s story, because only in this way can the authentic aspect of identity be unlocked. But, in my quest to understand others, I often find myself revealing who I am.    I am a Panamanian, American, Spaniard, and French boy from the rolling hills of New Hampshire. But, in the U.S., I am a Mexican; in Panama, a Gringo; in Spain, a mestizo; and in France, a Spaniard. No matter where I am, I am instantly forced into a categorical label, whether or not it is true. The prejudices that influence thought often prevent the unfettered interaction that allows for personal disclosure. On a plane, the narrow aisles and occasional turbulence serve as a refuge from thwarting preconceptions below.    Continuing the deceleration, the plane emerges past the final layer of clouds. My eyes lock onto the beauty of the expansive city.   A gentle voice to my side says, “Impressive, isn’t it?”   Ending up seated in the depths of the plane’s final rows, separated from the rest of my family, I was between a talkative Dutch man to my right and a movie-connoisseur Italian to my left. Though the journey began in awkward silence, we quickly found conversation in the ongoing World Cup. The discussion jumped from player statistics, to free-spirited Dutch culture, to the advantages of Neapolitan pizza, eventually ending on the beauty of the coming landscape.    But, they are more than just Dutch or Italian. Hein is a compassionate, bike-riding, lover of medium roast, last of seven siblings, inhabitant of Amsterdam. Antonio is a creative, plant-photographing, Techno-music enthusiast, mathematics-majoring native of Rome. A street-level interaction, a quick glance, would only reveal two white men, one blonde the other black-haired, and I, a dark-skinned boy sporting colorful sneakers.    And I am also more than what my outward appearance displays. Growing up in a multicultural family has made coming to terms with my true identity a process of self-discovery. From my Panamanian heritage, I inherited a steadfast personality that finds value in sacrifice and hard work. My Spanish background teaches me to take life one day at a time, always stopping to enjoy the company of others. My French ancestry instills in me the importance of quality in whatever endeavor I undertake. So, when asked where I’m from, I share beyond the surface; I am an amalgamation of different cultures and ideas.    Being of international roots, I am intrigued by people’s backgrounds beyond the outward portrayals, always seeking to unravel their true selves. Traveling, in its purest form, is my opportunity to discover the stories of my fellow passengers, and for them to do the same with me; it’s a chance to engage with others and explore different perspectives on life. Similarly, the cramped seats of a plane serve as are introspective lens in which I am the viewer and the subject.   As the freshly-paved tarmac whittles the rubber from the plane’s tires, and the violent landing vibrations shake the luggage overhead, I see myself, a hockey-playing, Chipotle-loving, free-thinking idealist, among two hundred constantly-altering narratives. As the plane reaches the gate, I begin to say goodbye to my newfound friends, eagerly awaiting my next transcendent experience from the world at ground level.

This is an extremely thoughtful and well-crafted essay. The author takes a more unconventional approach to the Common App essay, reflecting on his identity as a whole rather than describing one specific event or challenge they experienced. This type of essay is more difficult to get right, but, when done well like it is here, is one that stands out and lets the author’s insight and intellect shine. 

The author begins the essay with a beautifully written description of a plane ride. This is a common way to start a Common App essay, using an anecdote to hook the reader, but the author does it well, artfully describing what they are seeing while also maintaining an element of mystery. It’s not immediately obvious where the author is, which makes the reader want to find out. The author never explicitly says that they are on a plane in these opening paragraphs, but the imagery they’ve crafted makes it clear. This scene, though not the primary subject, will ground the essay and create a framework for the author to explore its main themes. This is also where the 2 bonus points come from, as the author takes something mundane, a plane ride, and crafts a surprisingly thoughtful and profound reflection. 

So, what are the essay’s main themes? In the third paragraph, the author explains their interest in “exploring beyond the surface of one’s story” to unlock “the authentic aspect of identity.” Investigating the nature of identity may seem like an overly intellectual topic for a Common App essay, but the author makes it personal by discussing their own experiences of being stereotyped based on appearance. This essay is about the author and his diverse, complex identity.  

The conversation the author describes serves as an example of the author’s thesis, that people are more than their appearances. Though the author initially defines the two men in simple terms, like others have judged him, he soon gets a more complete understanding of who these men are, listing detailed and specific characteristics. The author then does the same for the reader, giving them deeper insight into his own identity and upbringing. 

The author makes a smart decision in the final two paragraphs, shifting the focus from himself to his relationships with others. Instead of expressing a desire for others to understand him, which would seem self-centered, the author wants to gain a deeper understanding of other people and their perspectives, highlighting his empathy and desire to learn/grow. By expressing an interest in learning about other people in the future, the author subtly alludes to his future college experience, where he will meet a diverse variety of people.

“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?”

Breaking barriers: finding connection through water.

As I threw open the pool's thick metal doors, the pungent aroma of chlorine swaddled me like a wet blanket around a shivering newborn. The scent was pervasive during my year-long stint on the swimming and diving team, when the fame I'd imagined for myself as a freshman remained just out of reach. As I stepped along the slimy pool deck, I brought my focus back to the reason I had revived my failed athletic career.   [Name redacted] and I met through my school's Best Buddies Club, which connects students with and without developmental disabilities. The students' excitement as they jumped up to greet me every morning drew me into a community that made their own happiness in a world that often met them with judgment. But while  limited mobility and reliance on a communication device made conversation challenging, these were small setbacks compared to the fact that he seemed to want nothing to do with me. We made bracelets, holiday cards, paper mache flowers, and decorated cookies, but these encounters lasted mere minutes before he'd gesture for his aide to retrieve him.    I had nearly given up on our friendship when a teacher suggested we participate in a scuba dive organized for our school's students with disabilities. At first, all I could imagine were the new ways in which would be able to ignore me in another location - the pool.    Growing up less than a mile from Lake Michigan, I've always been attracted to the water. The first time I swam, pushing the soft water back and forth between my hands and feeling self-assurance I never experienced on land, I felt I'd touched freedom. I was liberated from being the only gay kid in a small elementary school, from constantly being made to fit into a mold when it came to my sexuality and beliefs. Everywhere I ventured, my peers insisted they knew aspects of me I hadn't explored myself. Their constant questioning of my identity - commenting on my favorite floral sweatshirt as I walked down the hallway and describing my love for classical music as "feminine" - occupied an enormous space in my brain at a time when I should have been finding answers for myself. Those brief moments of underwater clarity helped me retreat from all the boxes the world set out for me, washing away everyone's expectations like a tide smoothing out the sand when it crashes onto the beach. Every time I left the water, I felt a piece of my identity had solidified.   So perhaps I shouldn't have been surprised by what experienced in his first swim. As his aide and I unstrapped him from the wheelchair where he spent the majority of his days, bits of food and old pieces of paper from past art projects fell to the ground. Terror filled eyes as the security of his chair was stripped away, but the warm embrace of the water flowing around his limbs immediately calmed him as we gently lowered him into the pool. For a brief moment, his eyes locked onto mine and we shared our excitement.    Though it was fleeting, our glance taught me an invaluable lesson. Until that point, I hadn't tried to connect with  on anything but a superficial level. Our art projects were motivated by sincerity, but they offered no channel for and I to share something we mutually loved. Letting his fingers glide along the water's surface, I helped him float for the next thirty minutes in an uninterrupted state of bliss that can only be experienced by someone who has been confined for so long - a feeling I was able to understand. By sharing something that helped me come to terms with my identity, I was able to connect with him on a deeper level, one where we both felt free.

This is a good example of a personal, well-written essay. The author takes a fine topic, working with a disabled student, and makes it even more meaningful by connecting it to their own personal experiences. Not only does the essay show the author’s selflessness, but it also gives the reader insight into their identity and past struggles.

One of the strongest aspects of this essay is the author’s use of language. Whether describing the pool, the sensation of swimming, or the student’s descent into the water, the reader can fully understand the author’s experiences.  Each paragraph has specific details or examples, like the different Best Buddies Club activities or ways the author was bullied, that make the essay personal and unique to the author. The author shows the reader what they have experienced, rather than telling them.

The author has structured their essay well, beginning with a scene that sets up the essay’s purpose--to explain what inspired his return to swimming. This opening paragraph also establishes the author’s experience with swimming, which is crucial to understanding the rest of the essay.  Then, the author begins the essay’s narrative, introducing the Best Buddies Club and the essay’s conflict--his inability to connect with the student. 

What really makes this essay, and gives it the 3 bonus points, is the fourth paragraph, in which the author discusses his own relationship with swimming. Though the author starts by describing how swimming made them feel, they seamlessly transition to explaining swimming’s importance and reflecting on the challenges they faced growing up queer. By doing this, the author both makes the essay more personal, revealing how this experience is more than just sharing a hobby with the student, and gives the reader a much more intimate understanding of who they are and have overcome, without interrupting the narrative flow. The author does not overstate or exaggerate the challenges they went through, but describes it in a straightforward and honest way.

The author closes the essay by reflecting on what they have gained from this experience. By looking to his own experiences, the author was able to connect and empathize with the student, and help them break free of the constraints of their disability. What could have improved this already strong essay would have been a deeper and more introspective analysis of what the author learned from this experience. Rather than just focusing on how they helped the student, which could appear a bit self-centered, the author could have described how this experience has helped them grow or become a better person. This would have been the perfect opportunity to return to the opening paragraph, and discuss his return to swimming.

Building Lessons: The Journey of Assembling My IKEA Shelf

Sam Gosling said in Snoop that your room is a reflection of the inside of your mind. Every chaotic piece of paper cluttering your living space represents an idea created inside that lump of grey matter. However, sometimes each of those neurons pile up and need to be organised. And so, as I walked past my Yamaha upright with sporadic piles of music and the dusty mounds of 1900s CDs, I realised: "I really need a shelf." Just like any other creative with a penchant for mispronouncing Swedish, I went to IKEA and found a beautiful, white, open-backed cabinet that resonated with my desire for sophisticated simplicity. The trouble started when the box arrived home. Late at night, I started hacking it open with a knife and scratched the unblemished white surface of my cabinet. A well-worn truism reverberated between my ears: Precision was key. "Lesson learned," I thought. "But no one cares about a single scratch." I tried to rationalise my mistake; my decision grated against my perfectionism, but at least the scratch reminded me to approach even menial tasks with care. Then I embarked on the task, spurred by the tantalising satisfaction of building it without instructions (I have a tendency to add unnecessary challenges to see just how far I can push myself). Ten minutes later, I was in the hall balancing the cabinet between the wall and my knee. The shelves were in, and now all I needed was the top, a humble piece of flat timber. And the struts that hold it together. And the plethora of screws littered around me; surely they were spares. Just as I slotted the crowning piece onto my slightly lopsided shelf, the "Leaning Tower of Pisa" finally collapsed. The screws I had put in bent. I guess I would be needing those spares. The little wooden bits meant to keep the shelf stable snapped, and the middle panel had a hole ripped through its centre, as if Australia's very own Wolverine had ripped his claws up the side of my shelf. At first, I felt anger at my ineptitude, then despair and denial. Every stage of grief towards the magnificent project I thought I had completed flashed through my brain. My frustration had peaked. The collapsed shelves had defeated me, but the niggling voice at the back of my mind, which guides all my movements, said: "Hey, you could have done this better. You have to try again." The next day, after a meditative break, I was back, more determined and clear minded than ever. I embarked once again on the construction, without the instructions, but with the shelf lying horizontally on the floor. My determination to challenge myself had not yet swayed. By the end of the hour, I had a working shelf, that didn't look like the diagram but was able to support books. I needed to try again. I started again with the instructions and built a working, sturdy shelf that looked as though it could be printed in the IKEA catalogue- so long as they photoshop out the extra scratches. "Well, what's the moral? She used the instructions." Yes, I did use the instructions. Yes, I did have to remake the shelf three times. But every single mistake in those three attempts was a lesson I can use in the future. In every moment, I gained a greater understanding of the way parts fit together. Every time I looked at the instructions I realised I didn't need to carve my own path single-handedly; instead there was a lot of merit from building the work of those before me and taking their ideas to grow even more. And, at the very worst, at the end of it all, at least the chaotic pieces of paper were no longer on the floor.

This piece is quite unique. You see a lot of essays about profound trips to foreign countries or significant confessions in relationships, and the reason you see those topics a lot is because they make for great personal statements. What this student did here, though, was go against the grain and write about a seemingly boring topic with wit, sophistication, self- and reader-awareness, and humor. The use of monologue in this piece, and the seemingly profound introduction, both function beautifully here. The former adds to the colloquial nature of the essay, and the latter gives the rest of the piece room to subvert the expectation of where an essay with that introduction would likely go. This essay keeps you on your toes with its unexpected charm.

One of the best qualities of this essay is how content dictates form. By this, I mean that the step-by-step process of building a desk is also reflected in the step-by-step emotional journey we take with the student as they decide to purchase, assemble, fail, assemble again, fail again, and finally read the directions. You could almost imagine this scene playing out in a sitcom (I clearly imagined Zooey Deschanel in New Girl ) with the self-aware backtalk and subtle self-deprecation. 

To be clear, if you have a profound story you want to tell of a life-changing experience that you wish to share, you should absolutely do that. You should write about what interests you and the story you want to tell! However, if you find yourself struck more by the style of this piece, don’t feel like you need to be bound to typical sophistication and significance. Have fun writing about an IKEA shelf!

What I wrote about for my Common App Essay

“Reflect on a time when you questioned or challenged a belief or idea. What prompted your thinking? What was the outcome?”

The value of uncertainty: a journey from atheism to inquiry.

My parents are what you might call aggressive atheists. They’re not aggressive people, but when it comes to atheism, they’re no-holds-barred, pull-no-punches crusaders. No child of theirs was going to believe in a man in the sky- I was positioned towards disbelief from a very young age. This made it difficult for me to understand why I was sent to a school that featured weekly Religious Education lessons. My parents joke now that they simply wanted longer conversations to ensue when they asked me how my day was, but I suspect there was more to it. Their decision to give me a choice — or, at least, to show me the options — is something I’ve only recently begun to fully appreciate. At the time, though, it felt like a serious hassle. During these sessions, my classmates and I huddled cross- legged on the floor as our chaplain tried to make the concept of the Holy Trinity seem fun and relatable rather than intimidating. None of it made sense to me, yet I remember occasionally thinking that the story was so peculiar, so specific, that perhaps it may actually have been true. Most Tuesdays, though, I would come home and complain to my parents about the absurdity of the lesson. One afternoon, I opened the front door to find my grandfather, Morfar, sitting at the dining-room table, eating and chatting with my parents. Slinging my bag into my room, I raced to join them. Morfar, a retired headmaster, was always ready to outwit me with tangles of logic puzzles and math problems, the sparkle in his eyes growing brighter as I grew more frustrated. I began to babble enthusiastically, eager to show off my superior understanding of Christianity’s flaws. But as I prattled on, Morfar’s usual interjections were not there; instead, he simply gazed at me. After about a minute, he furrowed his eyebrows, and my heart skipped a beat. My words abruptly dried up into silence. It had never occurred to me that my grandfather, a man for whom I had the utmost respect, might be religious. Morfar, adjusting his glasses, broke the silence. He asked me to fetch my new cricket ball. I obeyed without question, mortified, terrified, and excited. I returned to the table and put the ball into his hand. He looked at it for a moment and said, “Jasper, what would happen to the ball if I took it home right now?” I paused, scanning for tricks. “I guess there’d be an extra ball at your house…” He leaned forward. “But now the ball isn’t where it’s supposed to be! Why is that?” “Because you took it…” I said, unsure of myself. He darted another question at me. “Jasper, why is the Earth where it is, so perfectly placed to allow us to live? A reason, a cause and effect for its position, the way there is for everything else?” The mystery of it intrigues and beguiles me to this day. It reminds me never to be too sure of myself and never to underestimate the value of uncertainty in forcing inquiry and serious thought. Since that day, I had many more debates with Morfar and my parents about religion, sometimes broaching topics as far-reaching as artificial intelligence and the nature of consciousness itself. Christianity has acted as a springboard for me to launch myself into new ways of critical thinking and new avenues of philosophy - something I value equally as highly as the peace and security it brings to others. While I cannot share my grandfather’s confidence, the freedom to converse and wonder together — the ability to question — brought us closer and became part of my foundation as an inquisitive, open, and often skeptical person. I understand now what people see in religion and God: a plan, a reason, an answer. I haven’t found mine yet, but I treasure the search.

This essay is packed with playful adjectives, active verbs, and flourishes of personality that make it come alive. At its core is a pretty serious investigation of religious beliefs, but the writer’s active style really portrays levity, openness, and curiosity--precisely the qualities that the speaker’s parents hoped to instill in them by encouraging open religious dialogue.

Despite describing their parents and grandfather as strong personalities, the writer is not entirely beholden to either’s set of beliefs. This impressive combination of openness and self-resolve emerges naturally from both the speaker’s chosen anecdotes and also from their voice itself. Both qualities are certainly things that admissions officers look for in successful applicants!

Challenging Tradition: Paving the Way for Gender Equality in an All-Boys School

Oh, are you sure this is what you want to do? There are plenty of other great project ideas you could work on." As I left my design teacher's office having presented a concept for a female-only cycling race, I was both disappointed and confused. I envisioned an opportunity to bring classmates together from my all-boys school to commemorate the steps society had taken to increase gender equality by creating a race in a traditionally male-dominatedsport. As I approached the deadline for submitting the project proposal for my Year 11 design portfolio, I was left without assurance but even more determination to press forward. The next day, I returned, determined to convince my teacher. Yet again, I was met with his pursed lips and furled forehead. Although I couldn't understand his hesitancy, with deadlines approaching I decided to stick with my original idea and start working away at it. Just a few days later during a lunch break, I found myself holding back, as my friends tossed around objectifying comments about a girl they had seen earlier that day on the street. Looking back at that moment, I realized how immune I had become to the sexism that permeated my school . If even I was not willing to stand against it, I realized that, in the eyes of my teacher, my idea of celebrating women had no place at my school. What did female empowerment and success have to do within an al/­ boys school? As I began to realize that my idea didn't "represent" the school or its values of taking boys and turning them into strong men, my teacher"s rejection began to take shape in my mind. The idea that female success and spirit could be celebrated amongst and by a school populated entirely by boys didn't have a place in "a school that understands boys" - our motto. This simply wasn't part of the culture we had been taught to uphold. So ingrained in the schools tradition that to challenge this identity with something as small as a portfolio project was to stand against a belief that the school had forever embraced. I realized, my school had become so caught up in respecting a history of male-dominated teaching, an exclusively-male learning environment, for ultimately a male-dominated society, that we had put aside our ability to achieve a world of equal opportunity for all. Nevertheles,sI loved my school and didn't want its inability to grapple with change impede its future success. Recalling my portfolio idea, I realized I had an opportunity to create the change I sought; a culture, embracing every person, regardless of gender. I met with fellow school leaders and in making them aware of the lunch break topic I had witnessed, I asked them all to think about what if that objectified girl was their sister or a loved one. The boys fell quiet and it was then, collectively we decided that a change had to occur. Together, we mobilized to develop a legacy project for the school. We pursued active change to create an atmosphere of cohesion and collective respect for all men and women. Speeches, guest speakers and group discussions were held to ensure that every boy not only understood the message we were trying to elucidate, but also realized the nature of the culture we had come to accept. And progressively, we saw change. Sexist comments became more scarce and boys began to realize the derogatory nature of their prior speech. Change is uncomfortable; change is slow - and the mental shift I catalyzed may not be embraced for generations to come. But it is ever more my hope that after having started the change, future leaders and teachers will choose to embrace it.

This essay is so impressive because of the author’s willingness to examine and critique their own assumptions and behaviors. Admissions readers love to learn about students that are willing to question and push their understanding of what is right--this author really communicates that adaptability by taking us through their journey of promoting female empowerment within an all-male context.

At first, the speaker seems to want to draw our attention to their persistence --their idea for an all-female cycling race is questioned, but the speaker has a ‘determination to press forward’. It quickly becomes clear, though, that this determination is not the quality that the speaker is highlighting in this essay--instead it is their adaptability and their willingness to revise their beliefs and assumptions. By the all-italics question at the end of the fifth paragraph, we are starting to see the author’s impressive level of self-inquiry.

By shelving their idea for a race and instead promoting gender-equitable actions that are more needed in their community, the author shows the maturity, self-awareness, and willingness to change that admissions readers love to see.

“Discuss an accomplishment, event, or realization that sparked a period of personal growth and a new understanding of yourself or others.”

Empowering through code: my journey in teaching and growth.

It's December 2018. I have a calculus midterm in a week, but as I walk into the library, I am not here to study. I descend to the familiar small, dimly-lit room in the basement. I rearrange tables, set up the projector, and distribute laptops. I anxiously rummage through my notes as I wait for the girls to trickle into the room. The first girl enters, clinging to her mom. Then other girls arrive, likewise, hiding behind their mothers, as I try to encourage mingling amongst the group. I attempt to conceal my anxiousness with a facade of hyper-enthusiasm. I move towards the podium, and while I have often taken my place in front of it, today I stand behind it, muster my brightest smile and begin to teach my first computer science class. Coding is the metaphysical barrier between the outside world and virtual world. On my own, coding allows me to be in my "bubble." Using the same loops and conditionals I teach about, I am able to transcend one world and enter another. Yet when I give myself the task of presenting these same coding principles to the young girls before me, my bubble collapses, and I exit my comfort zone. Nevertheless, I feel compelled to teach coding classes to as many girls as I can reach to instill in them the confidence that coding can generate within oneself, and the subsequent empowerment that can draw more young women into technology. My desire to host coding classes has been brewing for years. It is a perfect medley of my quest for opportunities to serve my community and my passion for computer science. My emphasis on specifically teaching girls stems from a recognition of the lack of girls participating in tech-related endeavors. In High School, I have taken computer science classes with three or fewer girls, and in robotics, I have entered competitions flooded with all-boys teams while struggling to find all-girls teams other than my own. As my team advances from our hometown competitions to regional competitions, to World Championships with 40,000 attendees, I am perplexed as girls in robotics are only speckled through the sea of boys competing. This lack of representation fuels my fire to host more workshops and have an impact upon younger girls so they will see themselves participating within future teams. At times, I have felt the need to prove my worth to others, as if being a girl implies inferiority. Through robotics, I have not only learned how to approach real-world problems with innovative engineering solutions, but also to be an advocate for myself and others. For me, I refuse to be complicit in perpetuating the gender stereotype that I have endured. I know that not every girl will want to join robotics, or even continue to learn computer science, and that's okay. At the very least, I want to emphasize that despite any barrier, coding is something they can do; if my all-girls team can compete our way to World Championships, they can accomplish whatever they choose to pursue. It's June 2019. I have become familiar with the basements of many libraries across Long Island, and today is my latest stop. I descend to a modestly sized room with fluorescent lighting. I iterate through my routine: introduce the coding concept of that day's lesson, run through the curriculum I have meticulously prepared down to each minute, field any questions, provide guidance, and talk to each girl. At the end of the class, when a mother and her daughter excitedly approach me to say that they have registered for robotics, the hyper-enthusiasm I consistently exude is no longer a facade. My message has reached at least one girl, encouraging me to reach the rest. With dozens of girls taught thus far, and more workshop planning underway, I am confident that my efforts have only just begun.

This essay, about the author’s coding education program, is an insightful look into the author’s interests and values. Not only does the essay show how the author has grown as a result of teaching coding, but it demonstrates the author’s passion for empowering young girls in technology, a timely social issue. The author strikes the rare balance of highlighting and celebrating her accomplishments without seeming self-centered or disingenuous.

The author effectively structures the essay, beginning with their description of her first coding class. While working to grab the reader’s attention, the first paragraph also creates a useful framework to show her personal growth--the final paragraph uses the same structure, allowing the reader to easily draw comparisons and see how much their program and teaching abilities have grown. This structural symmetry makes the essay cohesive and balanced.

While the first and last paragraphs work to illustrate the author’s growth, the middle paragraphs provide the reader with insight into the author’s motivations and values. In these paragraphs, the author is able to reflect on her own experiences with coding, first describing why she enjoys coding and how she decided to begin teaching. She describes her own past experiences in robotics and the lack of girls’ participation in competitions, to show the reader where her passion for women’s representation in technology comes from. The author could have strengthened their insight here by providing a more detailed description of her experiences in robotics, and how she was stereotyped or marginalized.

The fourth paragraph is arguably the essay’s strongest, as the author’s personal voice is clear and compelling. She explains how being a minority in robotics has made her feel inferior at times, and as though she needs to prove herself. Though she has learned to advocate for herself, she does not want other girls to feel as she did. The author decides to take action and address the problem by providing girls the opportunity to learn to code. Unlike other essays that point to a vague sense of wanting to help others, this author is driven by a clear, personal mission to empower girls in her service work.

The final thing to note is the essay’s conclusion. While the author has realized their goal of teaching and inspiring girls to pursue robotics, they are not satisfied or feel their work is complete. This is an example of their strong value system, as the author wants to continue to help as many girls as possible.

Mastering Time: Lessons from an Apple Tree and My Uncle's Legacy

Last summer, on a rare sunny day in Dunedin, New Zealand, I sat underneath the apple tree in my garden and pondered time. As I looked around, my eyes followed the dandelions drifting back and forth, up and down, while the distracting buzz of bees flying provided a low cacophony of sound in the background. At this moment, everything seemed so tangible, so graspable to me. Space all around me had character – each floating dandelion just a fingertip away. I wondered if there was a way to touch the fourth dimension I’d learnt from my physics class – a dimension that permeates our very existence. What if we could change time like we do space? What if we could reverse or expand time, as if it were the blossoming sunflowers unfolding a few feet from where I was sitting? Jordan could be hitting his Game 6 shot in Salt Lake City at that very moment, or I could be watching Liu hurdle past the competition in the bright lights of Athens. I could even have endless admissions officers read this essay, after I’d taken all the time in the world to make it a masterpiece worthy of Shakespeare. With time on my hands, the world would be my oyster. Then, I heard my mother’s voice calling and the smell of freshly cooked rice wafted through the garden, breaking my pleasant fantasy. Time, at that moment felt so constricting, as its passage returned to the rhythmic progression of meals. How ironic that while I was thinking about times’ wonders, this afternoon was time I will never get back. Time, in all its unlimited wonders, is used up as we continue our journey through life. In the space of a week, my future time radically shifted. My mother received news that my uncle, who I had looked up to all my life both literally and metaphorically, was gone. I had expected my life to change exponentially. But time kept ticking along the same way it always had, nudging me through the familiar sounds of a basketball clanking off the rim each day, sore forearms from volleyballs thumped, and the daily routine of homework and exams. Yet, throughout all of this, my uncle’s optimistic outlook on life - holding close the people who cared and things that mattered, letting go of unprecedented worry or unnecessary negativity, remained vividly embedded in me. His smile while talking to me, even as his business prospects were looking bleak, will stay with me forever. Time, in all its infinite glory, is a finite arbitrary construct, compartmentalised by society into quantifiable sections. Unequivocally appreciating the “compartments” that I have left, just as my uncle did with his life, is my way of claiming back time with him. Looking back, hyper focusing on a moment meant I often missed the true splendour of the bigger picture. Events such as re-biking the New Zealand Rail Trail senior year after being scarred, both figuratively and literally, from crashing severely in middle school, made me realise how much I truly missed, simply by taking a glass half empty view. Living in a quaint southern Kiwi city also meant things were often uneventful. Before when the weather would pass through four seasons in a day I’d often find it annoying, going from bright blue skies, to pouring hail, to briefly vivid rainbows, to gusts of wind through the night. By focusing on the positive, I began to appreciate what a wacky and peculiar sight this was – nowhere else would I get to live these moments. Constantly reconsidering and reframing previously ignored or unpleasant experiences is part of the legacy my uncle left me. As Shakespeare wrote, “let every man be master of his time.” With time, I know that each and every day is something of wonder, something of appreciation, something meaningful and over which my approach can irrevocably shape my perceptions.

This essay is an excellent example of how being specific and detailed – showing and not telling – can be especially effective.

The writer of this piece has very good instincts. Not only does he show his thought process, but he uses specific details in order to both balance the writing and translate his perceptions into accessible but original descriptions.

An author chooses to show and not tell to both evoke emotion and relay to the reader an experience that is important to the narrative.

An example of using this method is in the second to last paragraph, in which the narrator describes his specific observations:

“Before when the weather would pass through four seasons in a day I’d often find it annoying, going from bright blue skies, to pouring hail, to briefly vivid rainbows, to gusts of wind through the night. By focusing on the positive, I began to appreciate what a wacky and peculiar sight this was – nowhere else would I get to live these moments.”

Instead of simply telling the reader that he began to appreciate things in a way he had not before, he shows us through the details – using all five senses – so that we are guided through the prose and feel what the writer is asking us to. If he simply told us that he began to experience his surroundings differently than he had before, we would not be able to see the experience through his eyes, and we wouldn’t know the weight that the moment carried, or understand how he – specifically – processed these new ideas.

“Describe a topic, idea, or concept you find so engaging that it makes you lose all track of time. Why does it captivate you? What or who do you turn to when you want to learn more?”

The journey of the rubik's cube: embracing the process of problem-solving.

The moment I laid eyes on the cube, it was as if nothing else mattered. I remember my uncle explaining something about top row corners, but I was already turning the Rubik's cube in my hands around, wondering how its variegated faces could be aligned to create uniform color blocks. Every night for the next week, I would just spin the cube around, hoping that a solution would pop into my head. I started by attempting to align three cubes of one color - but the more I twisted the faces around, the more the colors seemed to scramble. I even tried randomly flicking the rows and columns back and forth, hoping to stumble upon a pattern, but nothing came to mind. I begged my classmates to solve the cube hoping to memorize their tactics, and spent my breaks watching other people solve cubes online, transfixed by the many versions of this puzzle I found. This was to no avail, as the cube remained unsolved. But it wasn't until I realized that I needed to figure out a strategy that worked for me and focus on one face at a time, rather than everything all at once, that I began to make some progress on the cube. By the end of the month, I was able to align 7 out of 9 cubes on one face. I had taught myself a new technique, and while it had not led to a complete success, it was a breakthrough all the same. It's been nine years since the day I was gifted the Rubik's cube, and I still have not been able to solve it. I suspect I never will. But I always come back to this problem not because of a relentless desire to solve or prove anything, but because I love the process of problem-solving. There is something special about being in a situation where I am not expected to immediately find a solution, and have time to examine a task from different angles and attempt to complete it in a multitude of ways. It is not the need to reach the final solution that drives me, but rather the knowledge that every bit of progress I make gives me a better understanding of the puzzle and contributes to my learning. When I approach daunting tasks, I ground myself by breaking down the problem and trying different approaches. Getting stuck is not a failure - rather, it is an opportunity to retrace my steps and figure out what went wrong. Success is not defined by how many problems I am able to solve, or how good I am at things, but rather how resilient I am and how willing I am to learn. There is a sense of contentment that accompanies the wonder I feel whenever I open up the educational digital program I have been working on for the past year. There is wonder in my uncertainty about how things are going to turn out, the fact that I don't know if I will achieve the ideal result this time - if today will finally be the day I crack the code. I have tried many programming languages and platforms to recreate the designs and prototypes I have created, although I have not yet been successful in my attempts. But before when I would have shied away from the uncertainty of my success, I now embrace it. I still find myself fiddling with my Rubik's cube during my free time because there is something to be said by finding those silver linings, those invaluable lessons in my relentless attempts to figure it out. Every so often I find delight in a breakthrough I've made, a technique I've finally learned or a piece that slotted in exactly where it needed to be. These small victories are meaningless in the larger scope of the world, but to me, they mean everything.

This is a fantastic example of an essay that draws importance and sincerity out of a commonplace experience. Many kids play with Rubik’s Cubes--the author is also not a world-record-breaking cube solver. But they use the Cube to do some serious self-analysis--in examining why they are attached to the puzzle, what they like about it, and how they went about approaching solutions, the author shows how they exhibit persistence, adaptability, and rigor in pursuing their interests.

The sentence, “Success is not defined by how many problems I am able to solve, or how good I am at things, but rather how resilient I am and how willing I am to learn” represents the essay’s most significant observation. In equating success with resiliency instead of achievement , the speaker shows great maturity. In college, students are challenged--they will also see students around them achieving in a variety of ways. Pursuing and embodying resiliency instead of chasing achievement at all costs makes for a healthy student experience full of learning!

More Examples?

To see even more examples, download our free ebook, the US Personal Essay Master Guide , which features 50 examples of Common App essays of students admitted into top universities! Additionally, check out our database of successful Common App Applications to read essays for each individual school!

About the Contributor

Jamie Beaton

Jamie Beaton is the Co-founder and CEO of Crimson Education. With degrees from Harvard, Oxford, Stanford, Yale, and Tsinghua, Jamie is an educational innovator passionate about helping students reach their academic potential. He co-founded Crimson after gaining admission to 25 of the world's top universities. Under his leadership, Crimson has become the world's most successful university admissions consultancy, helping thousands gain entry into the Ivy League and other elite institutions.

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The best video essays of 2021

An escape from the most popular to the most captivating

by Ransford James and Wil Williams

As coronavirus cloistered the world, the genre of video essays continued to augment in popularity on Youtube. Despite the homogeny of the creator space being apparent from a cursory glance, 2021 saw POC video essayists gaining momentum on the platform. From behemoths like D’Angelo Wallace to humble creators like myself, there is a gradient of experiences that are finally being represented thanks to YouTube’s algorithm “apparently” being an equalizer. That being said, this article hopes to shed light on some of gems you may have missed.

Beyond the players, the format of video essays has also evolved. Gone are the days when a midwestern man could aggregate thousands of views on a video about why water is wet. (OK, jk, that still happens.) But most of today’s video essays now amalgamate several genres of YouTube videos. Whether it’s the commentary crossovers à la Tara Mooknee , or the stand-up comedy stylings of Chill Goblin , there is a variety of variations to find. Here are a few that surprised us in the last year. —Ransford James, aka Foreign

[ Ed. note: This list is ordered chronologically rather than ranked by preference, meaning everything is worth checking out. And if you need more to watch, check out last year’s list .]

“Your Island is a Commune pt. 1,” Nowhere Grotesk

I first discovered this touching series on Animal Crossing: New Horizons via the social posts on F. D. Signifier’s YouTube channel — more on him later, but credit where credit’s due. Nowhere Grotesk’s bio on social media reads, “We’re two visual artists that create and examine art through a utopian leftist lens,” and that feeling permeates this series.

Discussing Animal Crossing: New Horizons through the lens of communal living and pastoral nostalgia, Nowhere Grotesk pushes back on the easy joke that Tom Nook is a greedy capitalist. Instead, this series shows how Animal Crossing: New Horizons conveys the concept of community as directly in conflict with urbanization and capitalism, thriving only when everyone’s needs are met without the turmoil of work. Even the addition of the Happy Home Paradise DLC , which gives players the option to work for additional outcomes, doesn’t nullify the anticapitalist argument here; working is a choice you can but don’t have to make. The island even meets more of the players’ needs by providing free healthcare. Animal Crossing isn’t the apolitical fluff many seem to think; instead, it’s a lovely, immersive argument for anarcho-communism, mutual aid, and rooting our politics in community. —Wil Williams

“The Market of Humiliating Black Women,” Tee Noir

This offering is far from obscure, but by the off chance that Tee Noir has evaded your eyes and eluded your ears, consider my favorite video from her so far: “ The Market of Humiliating Black Women .” Without spoiling this masterpiece, Tee breaks down what is such an innocuous experience that not many people even notice: How quotidian Black women’s pain is in popular media. From high-budget Tyler Perry movies to grainy WorldstarHipHop videos, the parodying of pain that Black women face on the daily is rewarded with thousands of millions of views and thousands of shares.

This is an experience that is far from second-hand with regard to Tee Noir, as she faces scrutiny that men don’t, simply by virtue of being a Black woman on this platform — let alone her queerness. —RJ

“The Day Rue ‘Became’ Black,” Yhara Zayd

After hitting shelves in 2008, Suzanne Collins’ The Hunger Games was praised for the way it conveyed real-life modern class struggles in a strange, borderline fantastical world. The Hunger Games was clear about what it was saying and referencing, but apparently, some readers didn’t get the memo — or perhaps they refused to.

In this video, Zayd pulls on the Hunger Games fandom’s history to dissect what made some readers so shocked when Amandla Stenberg, a young Black actress, was cast as Rue, a young girl who is ... canonically Black. This isn’t just about people reading a book wrong, though; it’s about why audiences felt less protective of Rue the moment she “became” Black “in casting.” It’s also about why most of those comments have since been scrubbed from the internet.

Yhara Zayd’s work has been featured on all of my video essay lists , and for good reason. Her sharp, concise, passionate analysis is scored by a low-key (but not necessarily relaxed) aesthetic and narration style. Her occasional breaks to make a joke or loosen up her script emphasize what’s so important about the topic at hand: the humanity. —WW

“Infantilization and the Body Hair Debate,” Shanspeare

Unironic ASMR, charismatic candor, and witty humor are but a few of Shanspeare’s calling cards. Despite the myriad of channels dedicated to analyzing pop culture, none do it quite like Shanspeare. “ Infantilization and the Body Hair Debate ” is one of the most eye-opening videos that I have encountered, and it has provoked me — a cishet Afro-Caribbean man — into thoroughly addressing my own contributions to the subject matter. This deep dive into how the world incentivizes childlike behavior from women is as unnerving as it is necessary to watch. From the way I speak to women, to my subconscious preference of nicely shaven legs, Shanspeare details how all of that is essentially the product of a purposeful inculcation that was underway far before I was even a thought. I cannot emphasize to you enough that you should watch this masterpiece and all of her other ones as well. —RJ

“Bo Burnham vs. Jeff Bezos,” CJ the X

Thanks to my specific symptoms of ADHD, it can be really hard for me to devote time to watch video essays that are over an hour long, and even harder for me to really fall in love with them. I hope this will help convey the gravity with which I am saying that I watched this two-and-a-half-hour video more times than any other video on YouTube this year. What starts as an analysis of Bo Burnham’s Inside slowly morphs into something else, then something else, then something else . This video transitions so gracefully between discussions of posthumanism, the internet, online fame, and what makes something funny, all while being punctuated with CJ the X’s hallmark near-absurdist blink-and-you’ll-miss-it humor. What makes this video an instant classic of the medium, though, is how it lands: a deep, sincere, vulnerable love letter to empathy and human connection, wound up in a personal anecdote that makes the thesis feel even more real.

I struggled to have basic hope or faith in humanity this year. I struggled to tell myself that everything is worth it. No piece of media helped me more with those struggles than this video. I wrote a piece on my read of Inside before seeing this video, and after watching it, my read on Inside has changed. And I’m so grateful. — WW

“The Reign of the Slim Thick Influencer,” Khadija Mbowe

I hope that this creator needs no introduction, because I feel woefully unequipped to introduce them myself. Khadija Mbowe walks the walk, and the walk is an onerous one. Being a feminine-presenting nonbinary creator of an obsidian hue, they brazenly break down some of the most nuanced topics with empathy and levity. Moreover, they pay it forward by promoting creators that the algorithm may have missed — much like myself, and in the same way Tee Noir promoted them a year ago.

“ The Reign of the Slim-Thick Influencer ” is arguably my favorite Khadija Mbowe video this year. It’s a discussion of the trend of Brazilian butt lifts , how influencers like Kim Kardashian perpetuate unrealistic beauty standards, and the awful origins of commodifying the Black woman’s body. This is a must-see for everybody who consumes social media, which is … everybody. — RJ

“make more characters bi, you cowards: why (not) romance?,” voice memos for the void

An installment of Voice Memos for the Void’s Romance in Media series, “make more characters bi, you cowards: why (not) romance?” does what it says on the tin. This video analyzes the strange state of bisexual characters in media, pointing out how rarely bisexual characters get to fall in love. Not have sex, but fall in love. Voice Memos for the Void effortlessly combats rebuttals to this idea that we hear every time we ask for more representation and romance: “Why do they need to be queer?” “Why do they need to be in love?” It also dives into different depictions of masculinity, a history of Byronic heroes, and the troubling tropes that follow bisexual characters around in media, like that of the Magical and/or Hedonistic Bisexual . Forgive the glitchy camera in this video; equipment is expensive, and the commentary more than makes up for the video fidelity. We can thank F. D. Signifier’s feed for putting this video on my radar, too. — WW

“The Black Right Wing,” Anansi’s Library

While Tee Noir enjoys (?) a visibility that many POC creators don’t, Anansi boasts a dedicated 15,000 subscriber count but is deserving of far more. They stay closer to the format that many video essays have in the past of concealing their face in their videos, relying more on the merit of their musings than the luster of their looks. Many of us simply create and comment on the actions of others, but Anansi, for lack of a better term, is really in the field. They are deeply entrenched in American activism, which makes their videos simply an accompaniment to a much larger concerted effort.

This video on The Black Right Wing is redolent of the very fight that they have fought on many occasions. It details this unique subset of Black Americans that embraces the Trumpian conservatism that still plagues the United States to this very day. If you are fascinated by the neurosis necessary to align oneself with a party that is antipodal to your existence, then this is the video for you! — RJ

“On Leftist Disunity,” St. Andrewism

By now you must see the peaks and valleys that this list is riding, from creators who have passed the 100,000 mark to those who are still in the 10,000s. The themes that combine in all of them are apparent: their marginalized status, the video essay format, and most of all, the quality. Over the last year, the Trinibagan St. Andrewism has amassed over 50,000 subscribers, and his video On Leftist Disunity is a highlight. This video is the quintessential love letter to the leftist community that encourages the embrace of the many differences it has within it. Instead of approaching this with the pessimism that many people do, St. Andrew seems gleefully optimistic that this diversity of thought will end up saving not only the United States but the world. —RJ

“Break Bread,” F. D. Signifier

OK, now we can talk about F. D. Signifier in earnest. In my video essay list for our Masterpieces of Streaming series, I gave a brief history of video essays through the lens of educational videos. In “Breaking Bread,” F. D. Signifier offers an uncomfortably accurate parallel history: the rise of video essays from rant reviewers like The Nostalgia Critic. The trend of debate bros and, in F. D. Signifier’s words, every LeftTuber making a video about Ben Shapiro, isn’t just rooted in the medium’s history, though; it’s also rooted in whiteness. That lens and style of video stays prominent thanks to the YouTube algorithm, and while the homogeneity of video essays has been critiqued many times, “Break Bread” breaks down the issue with an astounding level of complexity, research, and guests from all over the video essay ecosystem. How much of a video essayist’s success comes down to talent? How much comes down to luck? And how much comes down to the algorithm knowing that what keeps people watching is simply who looks familiar? — WW

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