The introduction is the most important part of your essay, and it has one purpose to fulfill above all others: to draw in the reader. Ideally this should all begin right from the attention-grabbing opening sentence. If the introduction can then go on to orient the reader to the focus of the essay, then that can be very helpful. Orientation, however, is not an essential purpose because that can be achieved gradually in the essay. Many people make the mistake of writing a paragraph that explains what they are going to talk about in the rest of the essay. Such a paragraph might include something such as the following: "My journey toward college has been shaped by a variety of experiences, including academic studies, volunteer work, and extracurricular activities." The reader knows that you are going to talk about these things and is most likely muttering to himself, "Get to the point."
If you have a paragraph such as this in your essay, the best move is to delete it. Often your second paragraph, which begins to discuss a specific experience, will work much better as an introduction. Yet you may also find that a later paragraph works even better. In general, you should bring your most compelling experience to the forefront and then structure your essay around that.
The following is a list of possible approaches to the introduction.
Jump Right In
Some people will start with a compelling experience but will insist upon prefacing that experience with a very generic statement such as the following: "I want to go to college to learn and achieve my goals." Often the reason people will write such a statement is that they feel compelled to restate the question in some way. If your essay is answering the question "Why do you want to go to college?" you should be able to demonstrate your reasons without relying on such a bland summary sentence.
Consider this applicant's introduction:
"I can't tell you in which peer group I'd fit best because I'm a social chameleon and am comfortable in most; I will instead describe my own social situation and the various cliques I drift in and out of."
This applicant writes what starts out as a potentially engaging introduction, but the paragraph immediately loses the reader's interest by telling him what the applicant is going to write about.
Now consider the applicant's second paragraph:
"My high school's student body is from a part of town that is much more diverse than the rest of the city, and the city as a whole is more diverse than most of the state. The location of my school, only a few blocks from the University of Oregon, is greatly responsible for the social atmosphere. Whereas the other high schools in town draw mainly from middle-class white suburban families, mine sits in the division between the poor west university neighborhood and the affluent east university one. East university is hilly and forested with quiet residential streets and peaceful, large houses. A few blocks west, using the university as the divider, the houses become small and seedy. On the west side of my school there are many dirty apartments; crime is high and social status is low."
Here, the writer engages the reader by providing a vivid description of the locale of his home and school. He probably felt he needed the introductory paragraph so the reader would not be confused by his second paragraph. However, by adding such a short and bland introduction, he has decreased the effectiveness of his personal statement. It is sometimes unnecessary to establish context right away. Let your story flow, engaging the reader and gradually relating setting and context.
The advice to jump right in also applies to anecdotes. One effective way to grab the reader's attention is to describe the action of your story.
Consider this applicant's introduction:
"'Breez in and breez out. Clear yor mind by zinking of somezing plasant.' For five minutes, all of us found ourselves sitting cross-legged on the floor with a soft, sleepy look on our faces as we subconsciously nodded to the soothing rhythmic voice of our French teacher. Our heads were still half wafting in the delicious swirls of dreamland, barely dwelling in the bittersweet shock of reality. Time whizzed by swiftly and we were forced to tend to the grueling task of untangling our aching frames, stiffened from prolonged straining positions."
The above introduction does a much better job of engaging the reader. Dialogue can be a very effective way to win over the reader's attention. This applicant lets the reader know the setting—his French class—even though he never explicitly states the location of the story. He paints a vivid picture in the reader's mind while incorporating the element of mystery, as the reader wonders what further action will occur, as well as what the point of this anecdote will ultimately be.
Show Your Originality
If you can make yourself stand out right from the first sentence, then you will have contributed a great deal to your case for admission. You should not just throw out a random fact about yourself. However, if your essay is going to emphasize a unique aspect of your life, then by all means that should come up right away.
This applicant starts with:
"When I was four years old I decided to challenge conventional notions of the human limit by flying through a glass window. The impetus was Superman, whose exploits on television had induced my experiment. Nine stitches and thirteen years later, while I no longer attempt to be stronger than steel or faster than a speeding bullet, I still find myself testing my limits, mental and physical."
This applicant takes a similar approach:
"I am an addict. I tell people I could stop anytime, but deep inside, I know I am lying. I need to listen to music, to write music, to play music every day. I can't go a whole day without, at the very least, humming or whistling the tunes that crowd my head. I sing myself hoarse each morning in the shower, and playing the trumpet leaves a red mouthpiece-shaped badge of courage on my lips all day. I suspect that if someone were to look at my blood under a microscope, they would see, between the platelets and t-cells, little black musical notes coursing through my body."
Both writers have succeeded in grabbing our attention and revealing something unique about their personalities, which they will go on to explain in further detail.
A Concrete Image
Starting with a concrete image helps the reader to grasp your point more immediately. For example, this applicant begins to describe her favorite places to think:
"While eating Cheerios, my eyes wandered from the yellow giant cardboard box, to the white plastered ceiling, with shades of dawn in muted colors, and back to my bowl of cereal."
This is probably not a particular episode, since the applicant frequently uses the kitchen table as a thoughtful refuge. Yet she offers a vivid description with concrete details, and so we can picture her sitting at her kitchen table, letting her mind drift into pensive thought.
The Element of Mystery
There are many ways to engage your reader, but the elements of mystery and surprise are perhaps the most effective. With admissions officers pouring over as many as fifty essays in a day, they begin to scan applicant statements, stopping to read only those that are written extremely well and are out of the ordinary. There is perhaps no better way to get your readers to finish reading your personal statement than to make them guess what you are writing about through the element of mystery.
Consider this applicant's introduction:
"I had a mental image of them standing there, wearing ragged clothes, hot and depressed, looking upon us as intruders in their world. They would sneer at our audacity. We would invade their territory only to take pictures and observe them like tourists."
Though the applicant provides precise details that help form a concrete picture in the mind of the reader, he makes sure to keep from relating other vital information that will establish context until the second paragraph:
"We climbed out of the van and faced eleven men assembled in the shade. My mental image was confirmed. My class, consisting of twelve primarily white, middle-class students, felt out of place. Our Politics of Food curriculum at Governor's School, a summer environmental program, included an interview with migrant workers. We were at a farm worker labor camp in southern New Jersey, but judging from the rural landscape, it may as well have been Iowa. I felt like a trespasser."
State a Problem
By stating a problem, you create instant curiosity because the reader wants to see how you will address the issue. This applicant relates how an issue of international prominence became personalized for him and his family:
"I have often wondered whether the United States has an obligation to get involved in the internal conflicts of other countries. When does the power to intervene become an obligation to act? I gained some insight into this dilemma when a small part of the Bosnian war spilled into my home last year."
You do not need to limit yourself to far-reaching global issues. You could state a general problem common to the lives of most people and then go on to personalize it for yourself, relating how it affects you and what you are doing or will do to address it. There are many possibilities here, but what unites them is the element of drama, and you should use that to your advantage in creating a strong introduction.
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Common Application Personal Statement
Looking for examples of past college essays that worked? These are some admissions essays that our officers thought were most successful (and some thoughts from the officers that liked them).
Daniel Bekai '20
Abu Dhabi, United Arab Emirates
People who have grown up with siblings might laugh at the idea that I consider being an only child an essential part of my identity. But just as a relationship with a brother or sister can be deeply formative, so can the absence of these relationships. For me, this absence has been a powerful stimulus to my imagination and my growth as a person.
When people discover I am an only child, they often react with some sympathy, as if growing up alone meant growing up lonely. It's certainly true that I spent a lot of time alone; even though I had close friends in elementary school, I hung out with them mostly on weekends. But I never felt lonely. As a young child, I loved to get lost in different projects of my own--whether it was building rudimentary circuits and illuminating LED lights with my “DeluxeElectronics Lab,” or improving my origami technique with my “Fold-a-Day” calendar. In these activities, I needed no conversation partner, no playmate, because the act of creation itself became my friend, challenging me to keep improving upon my skills. But I didn't always need wires and bulbs and paper to keep me interested; over time, I learned to find satisfaction in the simple act of daydreaming.
I treat such “daydreaming” very seriously. For me, daydreaming is a powerful tool for my creativity. Almost all of my ideas--whether they concern building a robot, writing a student council speech, or solving a problem--originate in my daydreams. One thing that perhaps sets me apart from the stereotypical “daydreamer” is that I have the ability to put my daydreams to use in real life. During my sophomore year of high school, I was watching two of my friends arm wrestle, and I began to daydream about arm wrestling. Arm wrestling is a peculiar sport, in that it's always one-on-one; there are no variations with more than two players. I began to wonder if there was a way to have two people arm wrestle against another two people. My daydream then underwent a critical metamorphosis, from the realm of ideas to the realm of execution. That summer, I built a model for a double arm wrestling machine on Google Sketchup, and then, with the help of a professional welder, turned the model into a reality. Later that year, I organized the first ever two-on-two arm wrestling tournament in my school's history (and probably the world's too). As an added bonus, all the money I raised from the double arm wrestling tournament was donated to the people of Nepal, who suffered an earthquake a few weeks prior to the tournament.
Growing up as an only child, learning to entertain myself with nothing but ideas, problems, and some rudimentary materials, has taught me the importance of listening to one's own thoughts. This is especially important nowadays, as we live in a world full of screens and sounds competing for our attention. As a result, it is all too easy to tune out the more subtle frequency of our imaginations, the inner frontier. Many people have what the writer Verlyn Klinkenborg called “a fear of the dark, cavernous place called the mind,” but there is nothing to fear there. In fact, there is much to learn. I am grateful, as an only child, to have had the chance to grow comfortable in that solitary space.
Joseph Poirier '21
When problems arise, I solve them using copper fittings.
I first discovered this versatile building material as a seven-year-old visiting my father's HVAC shop. While waiting for him to finish working one night, I wandered from the modestly finished space at the front of the building to the shop in back, which featured high ceilings and imposing stacks of shelves. I was fascinated by the dusty machines with tubes, knobs, and old cracked nozzles. When Dad found me shoulder-deep in the scrap copper bin--which I later referred to as "the world's coolest trash can"--he determined that it was time to teach me to solder. Thirty minutes later, armed with a bowl haircut, a pair of safety glasses, and a healthy dose of self-confidence, I was ready to take on the world.
From then on, my childhood was a patchwork of failures. I fell into a constant cycle of thinking, designing, building, and rethinking. Common Christmas wish list items included drafting supplies and architectural stencils. Each childhood interest led me back to the shop, where I figured out a way to build it from copper fittings. Learning to play trombone inspired me to design my own instrument. After a faulty mouthpiece and soldering mistakes ruined three prototypes, "The Plumbone," an instrument that could play three distinct notes, became my first successful creation. When a middle school acids and bases project called for building a paper maché volcano, I built a cannon instead. Though my first model failed to "erupt," my second sprayed its contents so far that it left a swath of dead grass in my lawn. While the grass grew back, I built a soapbox car entirely out of copper and steel strut channel only to find myself claiming last place in the annual "Soapbox Derby." Noting that the lightest cars accelerated quickest, I rebuilt my car, replacing steel with PVC pipe, and took second the next year. Having navigated around so many obstacles, I imagined that I could build anything so long as I had copper fittings.
As I matured, however, I began to drift away from my old standby. While attempting increasingly abstract projects, I grew frustrated by the limitations of copper fittings. It felt like the end of an era when I decided to build one last copper item, a small creature that I gifted to my dad.
Leaving the familiarity of copper behind felt like entering a new, entirely foreign world. Embracing the freedom and uncertainty of Python, I began coding my newest idea: a game called "Dive." While the concept proved exhaustingly ambitious, success seemed imminent as I stitched my project together, patch by patch. Yet when I looked through my computer one morning, I realized that "Dive" was gone, wiped inadvertently during a visit to the Apple store. I stared in disbelief at the blank computer screen, wondering if my vision was lost forever.
At this pivotal moment, I realized why copper fittings represent such an important part of my childhood. When my cannon refused to fire correctly, I learned something new about propulsion. When I soldered my instruments incorrectly, I refined my technique. Had I given up every time an idea failed, I would not have learned from my mistakes, and more importantly, I would not have found success. Even if I never solder again, the lessons I learned from copper fittings are the lessons that will guide me through life.
Losing "Dive" remains difficult to accept, yet excitement about the potential in a new game quickly overshadowed my disappointment. Years of faulty designs and unfortunate accidents have taught me to revise my methods, but not my goals, in the face of failure. With a confidence that only arises after realizing that success was just out of reach and finding the audacity to reach further, I set out to make "Dive 2.0," the best game you'll ever play.
Sophia Scherlis '21
On Tuesdays and Thursdays, I sit in soil pulling crab grass and borage. I've been a farmer since sophomore year. The farm--managed by my school--is a one-acre plot more accurately described as a garden with chickens.
My task today is to pick cherry tomatoes, most of which have ripened. I grab a tray from the shed and walk across pathways to the vine. I created these pathways during junior year, shoveling large heaps of wood-chips into a wheelbarrow, then raking these chips onto the pathways between beds. Our two tomato vines stand three feet tall and extend horizontally at least six feet; they are heavy with small red and orange glistening spheres.
I fall into a rhythm, plucking and setting tomatoes in the container, eating several here and there. I recall when I was six, my Mom would send my twin brother and me to the backyard to weed dandelions. We would get distracted and play with our dog or climb the dogwood tree. I recall the awe I felt last week when I harvested a giant sunflower, discovering at least ten potatoes growing in its roots, or when I found a sweet potato the size of a football. I had planted the seed potato pieces last year. I think about jalapenos, how scratches on their skin indicate spiciness level. The satisfaction I felt the first time I ate a piece of food I grew at the farm, a raw green-bean. The pleasure I feel knowing friends and teachers also eat the food I grow; we donate the farm's produce to our school's dining hall and sell it at the weekly farmer's market in the parking lot.
After farm, I will work a shift at the Farmer's Market. I will sit, perhaps eating Thai iced-tea-flavored ice cream from another stand, ready to explain where the farm is located, who works it, what we do with unsold food, and, finally, whether the price for a head of lettuce is negotiable (it is). Sometimes, I remember farmers I met during an exchange trip to Yangshuo, China, who were selling pomelos and bamboo shoots. I think about how to me, the difference between one-versus-two dollars for pomelos seems miniscule, but for those farmers, it means a lot. They rely solely on farming to feed their families; I farm for the pleasure of learning what they do out of necessity.
As I carry my share of tomatoes to the shed - tomatoes I nurtured from seeds into sprouts into fruits – I contemplate how much farm has done for me. I can't sit down to a meal without imagining the plants on my plate as seeds and then sprouts, without wondering about the many hands that brought them to my table. Education, to me, means understanding the hidden processes that make up daily life. Playing with the farm chickens - Pablo, Claude, Vincent, Leonardo - and knowing how the coating around an egg works as a natural preservative makes me appreciate my omelet a tad more. Watching weeds that I pulled from various beds slowly decompose into fertilizer in the compost pile makes me consider the roles carbon and nitrogen cycles play in that process.
Although I initially joined farm because I wanted to try something new, I quickly found that the work offers a balance with the intellectual work of the rest of my day. The farm connects education with experience; teaching me to see the application of my classroom learning in a real setting. Being able to see the relevance of what I am studying piques my curiosity. I aspire to maintain this connection between education and experience throughout my life, and will always find ways to contribute to my community, locally or globally. I will look for soil to cultivate, using my learning to see and understand more of the world, whether it be the natural environment or the way people live.
Michael O'Donovan '21
The heavy front door opened, then shut. He was later today than usual. As I sat there, finishing up my second grade math homework, he greeted me with his trademark whimsical, yet tired, smile. His appearance: a faded, worn-out shirt and durable, dusty jeans; his hands, caked with the grime and dirt that come with his line of work; his hair, on the verge of being assaulted with grey, covered in dust. After washing his hands, his greatest tools for his trade, he sat down with his reheated dinner, prepared by his loving wife forty minutes earlier. Without a word, he began to eat, aching for food after a long day of work. My second grade self couldn't help but notice the juxtaposition in play: a man in old, well-worn clothes, with dusty hair and hands not completely cleaned, dining in a room meticulously and somewhat ornately furnished, the fruit of his labor. We both sat there in silence. I could not help but look at my father the car mechanic in awe, considering where I myself might end up when I am his age.
"Cessi, et sublato montes genitore petivi." I just have one final line in book two of Vergil's Aeneid, line 804. I gaze at the line for a moment before attacking it. I note how both "sublato" and "genitore" are ablative; they go together. I spot "cessi," the verb meaning "I yielded", and "petivi," which means "I sought". "Montes" in this scenario is in the accusative case, which means it is the direct object. I translate the line to, "I yielded, and lifting my father I sought the mountains." I sat back, pleased with myself for finishing the second book of the renowned epic poem. Just then, my own father opened the door. Over dinner that night, we had another rousing talk regarding my looming college process. This talk was different, however; this was the night when I finally inform my dad of my intention to major in my favorite school topic, the classics. Upon hearing this news, my father's countenance was obscure, untranslatable.
When my parents were growing up in Ireland, an apprenticeship was far more valuable than college education. My parents did not attend college because apprentices got jobs sooner than those who went to college. Through apprenticeship my father got his first job. I realize the vast differences between my father's work and what I want to make my life's work. His is a realistic one: a job that was needed back then and is needed even more so today. It is a grueling work, in which one must use their hands and bodies to complete. Mine is perhaps less realistic. The classics once thrived; it was required curriculum at many private schools. The industry has only gone downhill since then, with fewer and fewer students taking the risk to learn the subject. It demands a high level of thinking, with much less physical requirements. Ultimately, I am grateful for my opportunity. My dad worked hard his entire life so that his own children got the chance to attend college to study and become what they want to be, and not what they needed to be for monetary reasons. My father is my hero for working hard, succeeding, and allowing me such a chance.
Despite his early doubt, when he soon learned that I did have a plan, which was that I wanted to teach the classics, my dad was at ease. That was all he needed to know. In my father's words, he said that if I had a plan that I was serious about, he would always fully support me. I was overjoyed by the fact that I, much like the pious hero Aeneas, would be able to carry my father, my past, with me toward my unknown future, rather than leave him behind, forever stuck in my past, a memory.
Jillian Impastato '21
My math teacher turns around to write an equation on the board and a sun pokes out from the collar of her shirt. A Starbucks barista hands me my drink with a hand adorned by a small music note. Where I work, a customer hands me her credit card wearing a permanent flower bracelet. Every day, I am on a scavenger hunt to find women with this kind of permanent art. I'm intrigued by the quotes, dates, symbols, and abstract shapes I see on people that I interact with daily. I've started to ask them questions, an informal interview, as an excuse to talk with these diverse women whose individuality continually inspires me. You can't usually ask the sorts of questions I have been asking and have the sorts of conversations I have been having, so I've created this project to make these kinds of encounters a bit more possible and acceptable.
There is no school assignment, no teacher to give me a grade, and no deadline. I don't have a concrete outcome in mind besides talking with a mix of interesting women with interesting tattoos. So far I've conducted fifteen interviews with a range of women from my hometown to Hawaii, teenagers to senior citizens, teachers to spiritual healers. The same set of questions has prompted interviews lasting less than twenty minutes and over two hours. I'm being told stories about deaths of a parent, struggles with cancer, coming out experiences, sexual assaults, and mental illnesses. All of these things that may be taboo in today's society, these women are quite literally wearing on their sleeves. I'm eager to continue these interviews in college and use all of the material I've gathered to show the world the strength and creativity of these wonderful women I've encountered.
I want to explore the art and stories behind the permanent transformations of personal landscapes. I attempt this by asking questions about why they decided to get their tattoos, how they were received in the workplace, the reactions from family and friends, and the tattoo's impact on their own femininity.
Through these simple questions, I happened upon much greater lessons regarding human interaction, diversity, and connectedness. In my first interview, a local businesswoman told me about her rocky relationship with her mother, her struggles with mental illness, and her friend in jail, within 45 minutes of meeting her and in the middle of a busy Starbucks. An artist educator I worked with told me that getting a tattoo "was like claiming a part of yourself and making it more visible and unavoidable." A model/homeopath said that having a tattoo is like "giving people a little clue about you." A psychologist shared how she wishes that she could turn her tattoos "on or off like a light switch to match different outfits and occasions." I've realized that tattoos show the complex relationship between the personal and the public (and how funny that can be when a Matisse cutout is thought to be phallic, or how a social worker's abstract doodle is interpreted as a tsunami of sticks, alien spaceship, and a billion other things by the children she works with).
I've learned so much about the art of storytelling and storytelling through art. I've strengthened relationships with people that had conventional roles in my life and created friendships with some unconventional characters. Most importantly, I've realized that with the willingness to explore a topic and the willingness to accept not knowing where it will go, an idea can become a substantive reality.