Writing Center

Strategic enrollment management and student success, breaking the blank page: personal narrative guide, remember....

Narrative Writing is unique in that no two professors teach it the same way. Because of this, the specifics of this type of writing will vary. The information in this guide is meant to help you approach personal narrative in a general way, but always refer to your professor’s assignment sheet and ask them if you have any questions.

What is Narrative Writing?

A narrative is a piece of writing that tells some sort of story . This writing often will be reflective and/or experiential in nature. You will serve as the narrator, the person who tells the story, in order to talk about an experience that you’ve had. You may then be asked to reflect on that experience to explore the effect it had on you and others.

Why is this project assigned?

Some VCU classes, like Focused Inquiry, use a shared curriculum that focuses on specific educational goals, including improving your writing process. The following are the skills around which the curriculum is centered:

  • Communicative Fluency
  • Ethical Reasoning
  • Problem Solving (Critical and Creative)
  • Information Literacy
  • Global and Cultural Awareness and Responsiveness

A personal narrative project will strengthen several of the above skills as you craft a narrative using your own experiences, draw meaning from those experiences, organize your thoughts about a particular topic, and evaluate situations in which you’ve been involved.

A narrative assignment is likely your first piece of major writing of the semester. Often, it’s not only a graded assignment, but also an introduction to your professor, both of yourself and of your written work.

Choosing a Subject

Ideally, the narrative you write will be both compelling and important to read. Why does what you’re writing about matter?

You may be invited or asked to share part or all of your narrative with others-- for example, in a one-on-one peer review session or a presentation. Keep this in mind if sharing personal or potentially sensitive information with someone other than your professor, such as other students, concerns you.

Techniques of Narrative Storytelling

Sequencing. Make sure your story is told in order (with a beginning, middle, and end), and that any background information needed to understand the story is told first. Who are your characters and what are their names? How are they related to you? Where is the story taking place? When? How old were you?

Dialogue. Something like, "Marie was really mad and yelled at me" sounds a lot better if you flesh out the moment with dialogue:

Marie turned completely red and started to shake. “Why would you do that?” she yelled.

Semantics. Consider the meaning of the words you use. A good rule of thumb is to be as specific as possible with your descriptions. You can use a thesaurus to find more exact words-- for instance, rather than saying someone “went” somewhere, you can describe how they went-- did they walk, jog, run, limp, scurry?

Sensory details. Sensory details provide information about the event that comes from the senses, including smells, sounds, colors, expressions, and even feelings. Vivid details help bring the reader into the moment you’re describing. “We got in the car” has quite a different feel than, for instance, “We climbed into the rust-red, oil-stained Toyota Camry”.

  • Unless your professor has clearly stated that you should not use the personal “I” in your writing, you are free to do so!
  • There is no required structure unless your professor asks for one. You don’t have to write a certain number of paragraphs or follow any rules about the number of sentences that each paragraph has.
  • A personal narrative, unless required by your professor, does not need to be researched (you shouldn’t have to cite any sources or look anything up online).
  • After you finish drafting your narrative, it may help to read out loud to catch anything you might have missed.
  • Are you a planner or a doer? Some students learn better by writing everything out all at once, while others prefer planning their paper out extensively before they actually start to write. There is no real “correct” way to plan a paper.

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School of Nursing

Supplemental materials form: 2017 r.n.-b.s. applicants only.

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Please select whether you have a bachelor's degree or not above.

RN-BS applicants without a Bachelor's degree in another field
VCU course Your course number Semester of completion College
Anatomy - 4 SH
Physiology - 4 SH
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Developmental psychology - 3 SH
Statistics - 3 SH
Anatomy - 4 SH
Physiology - 4 SH
Microbiology - 4 SH
Developmental psychology - 3 SH
Statistics - 3 SH
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RN-BS applicants with a Bachelor’s degree in another field
VCU course Your course number Semester of completion College

1 Applicants attending colleges or universities which offer anatomy and physiology as a combined two-semester course must complete the entire course sequence prior to enrolling in the School of Nursing. One semester of a combined anatomy and physiology course will not transfer, nor can one semester of a combined anatomy and physiology course be used in conjunction with a stand-alone anatomy or physiology course to fulfill this requirement. If taking stand-alone anatomy and physiology courses, human or comparative anatomy and human or animal physiology are accepted.

2 Minimum grade of B required.

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Please make a selection, and fill in the textbox if option 3 is selected.

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First Series[1841]

Cast the bantling on the rocks,
Suckle him with the she-wolf's teat"
Wintered with the hawk and fox,
Power and speed be hands and feet.

I read the other day some verses written by an eminent painter which were original and not conventional. The soul always hears an admonition in such lines, let the subject be what it may. The sentiment they instill is of more value than any thought they may contain. To believe our own thought, to believe that what is true for you in your private heart is true for all men, -- that is genius. Speak your latent conviction, and it shall be the universal sense; for the inmost in due time becomes the outmost,--and our first thought, is rendered back to us by the trumpets of the Last Judgment. Familiar as the voice of the mind is to each, the highest merit we ascribe to Moses, Plato, and Milton is, that they set at naught books and traditions, and spoke not what men but what they thought. A man should learn to detect and watch that gleam of light which flashes across his mind from within, more than the lustre of the firmament of bards and sages. Yet he dismisses without notice his thought, because it is his. In every work of genius we recognize majesty. Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous impression with good-humored inflexibility then most when the whole cry of voices is on the other side. Else, to-morrow a stranger will say with masterly good sense precisely what we have thought and felt all the time, and we shall be forced to take with shame our own opinion from another.

There is a time in every man's education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better, for worse, as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given to him to till. The power which resides in him is new in nature, and none but he knows what that is which he can do, nor does he know until he has tried. Not for nothing one face, one character, one fact, makes much impression on him, and another none. This sculpture in the memory is not without preëstablished harmony. The eye was placed where one ray should fall, that it might testify of that particular ray. We but half express ourselves, and are ashamed of that divine idea which each of us represents. It may be safely trusted as proportionate and of good issues, so it be faithfully imparted, but God will not have his work made manifest by cowards. A man is relieved and gay when he has put his heart into his work and done his best; but what he has said or done otherwise, shall give him no peace. It is a deliverance which does not deliver. In the attempt his genius deserts him; no muse befriends; no invention, no hope.

Trust thyself: every heart vibrates to that iron string. Accept the place the divine providence has found for you, the society of your contemporaries, the connection of events. Great men have always done so, and confided themselves childlike to the genius of their age, betraying their perception that the absolutely trustworthy was seated at their heart, working through their hands, predominating in all their being. And we are now men, and must accept in the highest mind the same transcendent destiny; and not minors and invalids in a protected corner, not cowards fleeing before a revolution, but guides, redeemers, and benefactors, obeying the Almighty effort, and advancing on Chaos and the Dark.

What pretty oracles nature yields us on this text, in the face and behaviour of children, babes, and even brutes! That divided and rebel mind, that distrust of a sentiment because our arithmetic has computed the strength and means opposed to our purpose, these have not. Their mind being whole, their eye is as yet unconquered, and when we look in their faces, we are disconcerted. Infancy conforms to nobody: all conform to it, so that one babe commonly makes four or five out of the adults who prattle and play to it. So God has armed youth and puberty and manhood no less with its own piquancy and charm, and made it enviable and gracious and its claims not to be put by, if it will stand by itself. Do not think the youth has no force, because he cannot speak to you and me. Hark! in the next room his voice is sufficiently clear and emphatic. It seems he knows how to speak to his contemporaries. Bashful or bold, then, he will know how to make us seniors very unnecessary.

The nonchalance of boys who are sure of a dinner, and would disdain as much as a lord to do or say aught to conciliate one, is the healthy attitude of human nature. A boy is in the parlour what the pit is in the playhouse; independent, irresponsible, looking out from his corner on such people and facts as pass by, he tries and sentences them on their merits, in the swift, summary way of boys, as good, bad, interesting, silly, eloquent, troublesome. He cumbers himself never about consequences, about interests: he gives an independent, genuine verdict. You must court him: he does not court you. But the man is, as it were, clapped into jail by his consciousness. As soon as he has once acted or spoken with , he is a committed person, watched by the sympathy or the hatred of hundreds, whose affections must now enter into his account. There is no and wife and brother, when my genius calls me. I would , . I hope it is somewhat better than whim at last, but we cannot spend the day in explanation. Expect me not to show cause why I seek or why I exclude company. Then, again, do not tell me, as a good man did to-day, of my obligation to put all poor men in good situations. Are they poor? I tell thee, thou foolish philanthropist, that I grudge the dollar, the dime, the cent, I give to such men as do not belong to me and to whom I do not belong. There is a class of persons to whom by all spiritual affinity I am bought and sold; for them I will go to prison, if need be; but your miscellaneous popular charities; the education at college of fools; the building of meeting-houses to the vain end to which many now stand; alms to sots; and the thousandfold Relief Societies;--though I confess with shame I sometimes succumb and give the dollar, it is a wicked Dollar which by and by I shall have the manhood to withhold.

Virtues are, in the popular estimate, rather the exception than the rule. There is the man his virtues. Men do what is called a good action, as some piece of courage or charity, much as they would pay a fine in expiation of daily non-appearance on parade. Their works are done as an apology or extenuation of their living in the world,--as invalids and the insane pay a high board. Their virtues are penances. I do not wish to , but to live. My life is for itself and not for a spectacle. I much prefer that it should be of a lower strain, so it be genuine and equal, than that it should be glittering and unsteady. I wish it to be sound and sweet, and not to need diet and bleeding. I ask primary evidence that you are a man, and refuse this appeal from the man to his actions. I know that for myself it makes no difference whether I do or forbear those actions which are reckoned excellent. I cannot consent to pay for a privilege intrinsic right. Few and mean as my gifts may be, I actually am, and do not need for my own assurance or the assurance of my fellows any secondary testimony.

What I must do is all that concerns me, not what the people think. This rule, equally arduous in actual and in intellectual life, may serve for the whole distinction between greatness and meanness. It is the harder, because you will always find those who think they know what is your duty better than you know it. It is easy in the world to live after the world's opinion; it is easy in solitude to live after our own; but the great man is he who in the midst of the crowd keeps with perfect sweetness the independence of solitude.

The objection to conforming to usages that have become dead to you is, that it scatters your force. It loses your time and blurs the impression of your character. If you maintain a dead church, contribute to a dead Bible-society, vote with a great party either for the government or against it, spread your table like base housekeepers,--under all these screens I have difficulty to detect the precise man you are. And, of course, so much force is withdrawn from your proper life. But do your work, and I shall know you. , and you shall reinforce yourself. A man must consider what a is this game of conformity. If I know your sect, I anticipate your argument. I hear a preacher announce for his text and topic the of one of the institutions of his church. Do I not know beforehand that not possibly can he say a new and spontaneous word? Do I not know that, with all this ostentation of examining the grounds of the institution, he will do no such thing? Do I not know that he is pledged to himself not to look but at one side,--the permitted side, not as a man, but as a parish minister? He is a retained attorney, and these airs of the bench are the emptiest affectation. Well, most men have bound their eyes with one or another handkerchief, and attached themselves to some one of these communities of opinion. This conformity makes them not false in a few particulars, authors of a few lies, but false in all particulars. Their every truth is not quite true. Their two is not the real two, their four not the real four; so that every word they say chagrins us, and we know not where to begin to set them right. Meantime nature is not slow to equip us in the prison-uniform of the party to which we adhere. We come to wear one cut of face and figure, and acquire by degrees the gentlest asinine expression. There is a mortifying experience in particular, which does not fail to wreak itself also in the general history; I mean "the foolish face of praise," the forced smile which we put on in company where we do not feel at ease in answer to conversation which does not interest us. The muscles, not spontaneously moved, but moved by a low usurping wilfulness, grow tight about the outline of the face with the most disagreeable sensation.

For nonconformity the world whips you with its displeasure. And therefore a man must know how to estimate a sour face. The by-standers look askance on him in the public street or in the friend's parlour. If this aversation had its origin in contempt and resistance like his own, he might well go home with a sad countenance; but the sour faces of the multitude, like their sweet faces, have no deep cause, but are put on and off as the wind blows and a newspaper directs. Yet is the discontent of the multitude more formidable than that of the senate and the college. It is easy enough for a firm man who knows the world to brook the rage of the cultivated classes. Their rage is decorous and prudent, for they are timid as being very vulnerable themselves. But when to their feminine rage the indignation of the people is added, when the ignorant and the poor are aroused, when the unintelligent brute force that lies at the bottom of society is made to growl and mow, it needs the habit of magnanimity and religion to treat it godlike as a trifle of no concernment.

The other terror that scares us from self-trust is our consistency; a reverence for our past act or word, because the eyes of others have no other data for computing our orbit than our past acts, and we are loath to disappoint them.

But why should you keep your head over your shoulder? Why drag about this corpse of your memory, lest you contradict somewhat you have stated in this or that public place? Suppose you should contradict yourself; what then? It seems to be a rule of wisdom never to rely on your memory alone, scarcely even in acts of pure memory, but to bring the past for judgment into the thousand-eyed present, and live ever in a new day. In your metaphysics you have denied personality to the Deity: yet when the devout motions of the soul come, yield to them heart and life, though they should clothe God with shape and color. Leave your theory, as Joseph his coat in the hand of the harlot, and flee.

A foolish consistency is the hobgoblin of little minds, adored by little statesmen and philosophers and divines. With consistency a great soul has simply nothing to do. He may as well concern himself with his shadow on the wall. Speak what you think now in hard words, and to-morrow speak what to-morrow thinks in hard words again, though it contradict every thing you said to-day.--'Ah, so you shall be sure to be misunderstood.'--Is it so bad, then, to be misunderstood? Pythagoras was misunderstood, and Socrates, and Jesus, and Luther, and Copernicus, and Galileo, and Newton, and every pure and wise spirit that ever took flesh. To be great is to be misunderstood.

I suppose no man can violate his nature. All the sallies of his will are rounded in by the law of his being, as the inequalities of Andes and Himmaleh are insignificant in the curve of the sphere. Nor does it matter how you gauge and try him. A character is like an acrostic or Alexandrian stanza;--read it forward, backward, or across, it still spells the same thing. In this pleasing, contrite wood-life which God allows me, let me record day by day my honest thought without prospect or retrospect, and, I cannot doubt, it will be found symmetrical, though I mean it not, and see it not. My book should smell of pines and resound with the hum of insects. The swallow over my window should interweave that thread or straw he carries in his bill into my web also. We pass for what we are. Character teaches above our wills. Men imagine that they communicate their virtue or vice only by overt actions, and do not see that virtue or vice emit a breath every moment.

There will be an agreement in whatever variety of actions, so they be each honest and natural in their hour. For of one will, the actions will be harmonious, however unlike they seem. These varieties are lost sight of at a little distance, at a little height of thought. One tendency unites them all. The voyage of the best ship is a zigzag line of a hundred . See the line from a sufficient distance, and it straightens itself to the average tendency. Your genuine action will explain itself, and will explain your other genuine actions. Your conformity explains nothing. Act singly, and what you have already done singly will justify you now. Greatness appeals to the future. If I can be firm enough to-day to do right, and scorn eyes, I must have done so much right before as to defend me now. Be it how it will, do right now. Always scorn appearances, and you always may. The force of character is cumulative. All the foregone days of virtue work their health into this. What makes the majesty of the heroes of the senate and the field, which so fills the imagination? The consciousness of a train of great days and victories behind. They shed an united light on the advancing actor. He is attended as by a visible escort of angels. That is it which throws thunder into , 's eye. Honor is venerable to us because it is no ephemeris. It is always ancient virtue. We worship it to-day because it is not of to-day. We love it and pay it homage, because it is not a trap for our love and homage, but is self-dependent, self-derived, and therefore of an old immaculate pedigree, even if shown in a young person.

I hope in these days we have heard the last of conformity and consistency. Let the words be and ridiculous henceforward. Instead of the gong for dinner, let us hear a whistle from the Spartan fife. Let us never bow and apologize more. A great man is coming to eat at my house. I do not wish to please him; I wish that he should wish to please me. I will stand here for humanity, and though I would make it kind, I would make it true. Let us affront and reprimand the smooth mediocrity and squalid contentment of the times, and hurl in the face of custom, and trade, and office, the fact which is the upshot of all history, that there is a great responsible Thinker and Actor working wherever a man works; that a true man belongs to no other time or place, but is the centre of things. Where he is, there is nature. He measures you, and all men, and all events. Ordinarily, every body in society reminds us of somewhat else, or of some other person. Character, reality, reminds you of nothing else; it takes place of the whole creation. The man must be so much, that he must make all circumstances indifferent. Every true man is a cause, a country, and an age; requires infinite spaces and numbers and time fully to accomplish his design;--and posterity seem to follow his steps as a train of clients. A man Caesar is born, and for ages after we have a Roman Empire. Christ is born, and millions of minds so grow and cleave to his genius, that he is confounded with virtue and the possible of man. An institution is the lengthened shadow of one man; as, the Reformation, of Luther; Quakerism, of Fox; Methodism, of Wesley; Abolition, of Clarkson. Scipio, Milton called "the height of Rome"; and all history resolves itself very easily into the biography of a few stout and earnest persons.

Let a man then know his worth, and keep things under his feet. Let him not peep or steal, or skulk up and down with the air of a charity-boy, a bastard, or an interloper, in the world which exists for him. But the man in the street, finding no worth in himself which corresponds to the force which built a tower or sculptured a marble god, feels poor when he looks on these. To him a palace, a statue, or a costly book have an alien and forbidding air, much like a gay equipage, and seem to say like that, 'Who are you, Sir?' Yet they all are his, suitors for his notice, petitioners to his faculties that they will come out and take possession. The picture waits for my verdict: it is not to command me, but I am to settle its claims to praise. That popular fable of the sot who was picked up dead drunk in the street, carried to the duke's house, washed and dressed and laid in the duke's bed, and, on his waking, treated with all obsequious ceremony like the duke, and assured that he had been insane, owes its popularity to the fact, that it symbolizes so well the state of man, who is in the world a sort of sot, but now and then wakes up, exercises his reason, and finds himself a true prince.

Our reading is mendicant and sycophantic. In history, our imagination plays us false. Kingdom and lordship, power and estate, are a gaudier vocabulary than private John and Edward in a small house and common day's work; but the things of life are the same to both; the sum total of both is the same. Why all this deference to Alfred, and Scanderbeg, and Gustavus? Suppose they were virtuous; did they wear out virtue? As great a stake depends on your private act to-day, as followed their public and renowned steps. When private men shall act with original views, the lustre will be transferred from the actions of kings to those of gentlemen.

The world has been instructed by its kings, who have so magnetized the eyes of nations. It has been taught by this colossal symbol the mutual reverence that is due from man to man. The joyful loyalty with which men have everywhere suffered the king, the noble, or the great proprietor to walk among them by a law of his own, make his own scale of men and things, and reverse theirs, pay for benefits not with money but with honor, and represent the law in his person, was the hieroglyphic by which they obscurely signified their consciousness of their own right and comeliness, the right of every man.

The magnetism which all original action exerts is explained when we inquire the reason of self-trust. Who is the Trustee? What is the aboriginal Self on which a universal reliance may be grounded? What is the nature and power of that science-baffling star, without parallax, without calculable elements, which shoots a ray of beauty even into trivial and impure actions, if the least mark of independence appear? The inquiry leads us to that source, at once the essence of genius, of virtue, and of life, which we call Spontaneity or Instinct. We denote this primary wisdom as Intuition, whilst all later teachings are tuitions. In that deep force, the last fact behind which analysis cannot go, all things find their common origin. For, the sense of being which in calm hours rises, we know not how, in the soul, is not diverse from things, from space, from light, from time, from man, but one with them, and proceeds obviously from the same source whence their life and being also proceed. We first share the life by which things exist, and afterwards see them as appearances in nature, and forget that we have shared their cause. Here is the fountain of action and of thought. Here are the lungs of that inspiration which giveth man wisdom, and which cannot be denied without impiety and atheism. We lie in the lap of immense intelligence, which makes us receivers of its truth and organs of its activity. When we discern justice, when we discern truth, we do nothing of ourselves, but allow a passage to its beams. If we ask whence this comes, if we seek to pry into the soul that causes, all philosophy is at fault. Its presence or its absence is all we can affirm. Every man discriminates between the voluntary acts of his mind, and his involuntary perceptions, and knows that to his involuntary perceptions a perfect faith is due. He may err in the expression of them, but he knows that these things are so, like day and night, not to be disputed. My wilful actions and acquisitions are but roving;--the idlest reverie, the faintest native emotion, command my curiosity and respect. Thoughtless people contradict as readily the statement of perceptions as of opinions, or rather much more readily; for, they do not distinguish between perception and notion. They fancy that I choose to see this or that thing. But perception is not whimsical, but fatal. If I see a trait, my children will see it after me, and in course of time, all mankind,--although it may chance that no one has seen it before me. For my perception of it is as much a fact as the sun.

The relations of the soul to the divine spirit are so pure, that it is profane to seek to interpose helps. It must be that when God speaketh he should communicate, not one thing, but all things; should fill the world with his voice; should scatter forth light, nature, time, souls, from the centre of the present thought; and new date and new create the whole. Whenever a mind is simple, and receives a divine wisdom, old things pass away,--means, teachers, texts, temples fall; it lives now, and absorbs past and future into the present hour. All things are made sacred by relation to it,--one as much as another. All things are dissolved to their centre by their cause, and, in the universal miracle, petty and particular miracles disappear. If, therefore, a man claims to know and speak of God, and carries you backward to the phraseology of some old mouldered nation in another country, in another world, believe him not. Is the acorn better than the oak which is its fulness and completion? Is the parent better than the child into whom he has cast his ripened being? Whence, then, this worship of the past? The centuries are conspirators against the sanity and authority of the soul. Time and space are but physiological colors which the eye makes, but the soul is light; where it is, is day; where it was, is night; and history is an impertinence and an injury, if it be any thing more than a cheerful apologue or parable of my being and becoming.

Man is timid and apologetic; he is no longer upright; he dares not say 'I think,' 'I am,' but quotes some saint or sage. He is ashamed before the blade of grass or the blowing rose. These roses under my window make no reference to former roses or to better ones; they are for what they are; they exist with God to-day. There is no time to them. There is simply the rose; it is perfect in every moment of its existence. Before a leaf-bud has burst, its whole life acts; in the full-blown flower there is no more; in the leafless root there is no less. Its nature is satisfied, and it satisfies nature, in all moments alike. But man postpones or remembers; he does not live in the present, but with reverted eye laments the past, or, heedless of the riches that surround him, stands on tiptoe to foresee the future. He cannot be happy and strong until he too lives with nature in the present, above time.

This should be plain enough. Yet see what strong intellects dare not yet hear God himself, unless he speak the phraseology of I know not what David, or Jeremiah, or Paul. We shall not always set so great a price on a few texts, on a few lives. We are like children who repeat by rote the sentences of grandames and tutors, and, as they grow older, of the men of talents and character they chance to see,--painfully recollecting the exact words they spoke; afterwards, when they come into the point of view which those had who uttered these sayings, they understand them, and are willing to let the words go; for, at any time, they can use words as good when occasion comes. If we live truly, we shall see truly. It is as easy for the strong man to be strong, as it is for the weak to be weak. When we have new perception, we shall gladly disburden the memory of its hoarded treasures as old rubbish. When a man lives with God, his voice shall be as sweet as the murmur of the brook and the rustle of the corn.

And now at last the highest truth on this subject remains unsaid; probably cannot be said; for all that we say is the far-off remembering of the intuition. That thought, by what I can now nearest approach to say it, is this. When good is near you, when you have life in yourself, it is not by any known or accustomed way; you shall not discern the foot-prints of any other; you shall not see the face of man; you shall not hear any name;--the way, the thought, the good, shall be wholly strange and new. It shall exclude example and experience. You take the way from man, not to man. All persons that ever existed are its forgotten ministers. Fear and hope are alike beneath it. There is somewhat low even in hope. In the hour of vision, there is nothing that can be called gratitude, nor properly joy. The soul raised over passion beholds identity and eternal causation, perceives the self-existence of Truth and Right, and calms itself with knowing that all things go well. Vast spaces of nature, the Atlantic Ocean, the South Sea,--long intervals of time, years, centuries,--are of no account. This which I think and feel underlay every former state of life and circumstances, as it does underlie my present, and what is called life, and what is called death.

Life only avails, not the having lived. Power ceases in the instant of repose; it resides in the moment of transition from a past to a new state, in the shooting of the gulf, in the darting to an aim. This one fact the world hates, that the soul ; for that for ever degrades the past, turns all riches to poverty, all reputation to a shame, confounds the saint with the rogue, shoves Jesus and Judas equally aside. Why, then, do we prate of self-reliance? Inasmuch as the soul is present, there will be power not confident but agent. To talk of reliance is a poor external way of speaking. Speak rather of that which relies, because it works and is. Who has more obedience than I masters me, though he should not raise his finger. Round him I must revolve by the gravitation of spirits. We fancy it rhetoric, when we speak of eminent virtue. We do not yet see that virtue is Height, and that a man or a company of men, plastic and permeable to principles, by the law of nature must overpower and ride all cities, nations, kings, rich men, poets, who are not.

This is the ultimate fact which we so quickly reach on this, as on every topic, the resolution of all into the ever-blessed ONE. Self-existence is the attribute of the Supreme Cause, and it constitutes the measure of good by the degree in which it enters into all lower forms. All things real are so by so much virtue as they contain. Commerce, husbandry, hunting, whaling, war, eloquence, personal weight, are somewhat, and engage my respect as examples of its presence and impure action. I see the same law working in nature for conservation and growth. Power is in nature the essential measure of right. Nature suffers nothing to remain in her kingdoms which cannot help itself. The genesis and maturation of a planet, its poise and orbit, the bended tree recovering itself from the strong wind, the vital resources of every animal and vegetable, are demonstrations of the self-sufficing, and therefore self-relying soul.

Thus all concentrates: let us not rove; let us sit at home with the cause. Let us stun and astonish the intruding rabble of men and books and institutions, by a simple declaration of the divine fact. Bid the invaders take the shoes from off their feet, for God is here within. Let our simplicity judge them, and our docility to our own law demonstrate the poverty of nature and fortune beside our native riches.

But now we are a mob. Man does not stand in awe of man, nor is his genius admonished to stay at home, to put itself in communication with the internal ocean, but it goes abroad to beg a cup of water of the urns of other men. We must go alone. I like the silent church before the service begins, better than any preaching. How far off, how cool, how chaste the persons look, begirt each one with a precinct or sanctuary! So let us always sit. Why should we assume the faults of our friend, or wife, or father, or child, because they sit around our hearth, or are said to have the same blood? All men have my blood, and I have all men's. Not for that will I adopt their petulance or folly, even to the extent of being ashamed of it. But your isolation must not be mechanical, but spiritual, that is, must be elevation. At times the whole world seems to be in conspiracy to importune you with emphatic trifles. Friend, client, child, sickness, fear, want, charity, all knock at once at thy closet door, and say,--'Come out unto us.' But keep thy state; come not into their confusion. The power men possess to annoy me, I give them by a weak curiosity. No man can come near me but through my act. "What we love that we have, but by desire we bereave ourselves of the love."

If we cannot at once rise to the sanctities of obedience and faith, let us at least resist our temptations; let us enter into the state of war, and wake , , or in the way. Consider whether you have satisfied your relations to father, mother, cousin, neighbour, town, cat, and dog; whether any of these can upbraid you. But I may also neglect this reflex standard, and absolve me to myself. I have my own stern claims and perfect circle. It denies the name of duty to many offices that are called duties. But if I can discharge its debts, it enables me to dispense with the popular code. If any one imagines that this law is lax, let him keep its commandment one day.

And truly it demands something godlike in him who has cast off the common motives of humanity, and has ventured to trust himself for a taskmaster. High be his heart, faithful his will, clear his sight, that he may in good earnest be doctrine, society, law, to himself, that a simple purpose may be to him as strong as iron necessity is to others!

If any man consider the present aspects of what is called by distinction society, he will see the need of these ethics. The sinew and heart of man seem to be drawn out, and we are become timorous, desponding whimperers. We are afraid of truth, afraid of fortune, afraid of death, and afraid of each other. Our age yields no great and perfect persons. We want men and women who shall renovate life and our social state, but we see that most natures are insolvent, cannot satisfy their own wants, have an ambition out of all proportion to their practical force, and do lean and beg day and night continually. Our housekeeping is mendicant, our arts, our occupations, our marriages, our religion, we have not chosen, but society has chosen for us. We are parlour soldiers. We shun the rugged battle of fate, where strength is born.

If our young men miscarry in their first enterprises, they lose all heart. If the young merchant fails, men say he is ruined. If the finest genius studies at one of our colleges, and is not installed in an office within one year afterwards in the cities or suburbs of Boston or New York, it seems to his friends and to himself that he is right in being disheartened, and in complaining the rest of his life. A sturdy lad from New Hampshire or Vermont, who in turn tries all the professions, who , keeps a school, preaches, edits a newspaper, goes to Congress, buys a township, and so forth, in successive years, and always, like a cat, falls on his feet, is worth a hundred of these city dolls. He walks abreast with his days, and feels no shame in not `studying a profession,' for he does not postpone his life, but lives already. He has not one chance, but a hundred chances. Let a Stoic open the resources of man, and tell men they are not leaning willows, but can and must detach themselves; that with the exercise of self-trust, new powers shall appear; that a man is the word made flesh, born to shed healing to the nations, that he should be ashamed of our compassion, and that the moment he acts from himself, tossing the laws, the books, idolatries, and customs out of the window, we pity him no more, but thank and revere him,--and that teacher shall restore the life of man to splendor, and make his name dear to all history.

It is easy to see that a greater self-reliance must work a revolution in all the offices and relations of men; in their religion; in their education; in their pursuits; their modes of living; their association; in their property; in their speculative views.

1. In what prayers do men allow themselves! That which they call a holy office is not so much as brave and manly. Prayer looks abroad and asks for some foreign addition to come through some foreign virtue, and loses itself in endless mazes of natural and supernatural, and mediatorial and miraculous. Prayer that craves a particular commodity,--any thing less than all good,--is vicious. Prayer is the contemplation of the facts of life from the highest point of view. It is the soliloquy of a beholding and jubilant soul. It is the spirit of God pronouncing his works good. But prayer as a means to effect a private end is meanness and theft. It supposes dualism and not unity in nature and consciousness. As soon as the man is at one with God, he will not beg. He will then see prayer in all action. The prayer of the farmer kneeling in his field to weed it, the prayer of the rower kneeling with the stroke of his oar, are true prayers heard throughout nature, though for cheap ends. Caratach, in Fletcher's Bonduca, when admonished to inquire the mind of the god Audate, replies, --

Another sort of false prayers are our regrets. Discontent is the want of self-reliance: it is infirmity of will. Regret calamities, if you can thereby help the sufferer; if not, attend your own work, and already the evil begins to be repaired. Our sympathy is just as base. We come to them who weep foolishly, and sit down and cry for company, instead of imparting to them truth and health in rough electric shocks, putting them once more in communication with their own reason. The secret of fortune is joy in our hands. Welcome evermore to gods and men is the self-helping man. For him all doors are flung wide: him all tongues greet, all honors crown, all eyes follow with desire. Our love goes out to him and embraces him, because he did not need it. We solicitously and apologetically caress and celebrate him, because he held on his way and scorned our disapprobation. The gods love him because men hated him. "To the persevering mortal," said , 'Let not God speak to us, lest we die. Speak thou, speak any man with us, and we will obey.' Everywhere I am hindered of meeting God in my brother, because he has shut his own temple doors, and recites fables merely of his brother's, or his brother's brother's God. Every new mind is a new classification. If it prove a mind of uncommon activity and power, a Locke, a Lavoisier, a Hutton, a Bentham, a Fourier, it imposes its classification on other men, and lo! a new system. In proportion to the depth of the thought, and so to the number of the objects it touches and brings within reach of the pupil, is his complacency. But chiefly is this apparent in creeds and churches, which are also classifications of some powerful mind acting on the elemental thought of duty, and man's relation to the Highest. Such is Calvinism, Quakerism, Swedenborgism. The pupil takes the same delight in subordinating every thing to the new terminology, as a girl who has just learned botany in seeing a new earth and new seasons thereby. It will happen for a time, that the pupil will find his intellectual power has grown by the study of his master's mind. But in all unbalanced minds, the classification is idolized, passes for the end, and not for a speedily exhaustible means, so that the walls of the system blend to their eye in the remote horizon with the walls of the universe; the luminaries of heaven seem to them hung on the arch their master built. They cannot imagine how you aliens have any right to see,--how you can see; 'It must be somehow that you stole the light from us.' They do not yet perceive, that light, unsystematic, indomitable, will break into any cabin, even into theirs. Let them chirp awhile and call it their own. If they are honest and do well, presently their neat new pinfold will be too strait and low, will crack, will lean, will rot and vanish, and the immortal light, all young and joyful, million-orbed, million-colored, will beam over the universe as on the first morning.

2. It is for want of self-culture that the superstition of Travelling, whose idols are Italy, England, Egypt, retains its fascination for all educated Americans. They who made England, Italy, or Greece venerable in the imagination did so by sticking fast where they were, like an axis of the earth. In manly hours, we feel that duty is our place. The soul is no traveller; the wise man stays at home, and when his necessities, his duties, on any occasion call him from his house, or into foreign lands, he is at home still, and shall make men sensible by the expression of his countenance, that he goes the missionary of wisdom and virtue, and visits cities and men like a sovereign, and not like an interloper or a valet.

I have no churlish objection to the circumnavigation of the globe, for the purposes of art, of study, and benevolence, so that the man is first domesticated, or does not go abroad with the hope of finding somewhat greater than he knows. He who travels to be amused, or to get somewhat which he does not carry, travels away from himself, and grows old even in youth among old things. In Thebes, in Palmyra, his will and mind have become old and dilapidated as they. He carries ruins to ruins.

Travelling is a fool's paradise. discover to us the indifference of places. At home I dream that at Naples, at Rome, I can be intoxicated with beauty, and lose my sadness. I pack my trunk, embrace my friends, embark on the sea, and at last wake up in Naples, and there beside me is the stern fact, the sad self, unrelenting, identical, that I fled from. I seek the Vatican, and the palaces. I affect to be intoxicated with sights and suggestions, but I am not intoxicated. My giant goes with me wherever I go.

3. But the rage of travelling is a symptom of a deeper unsoundness affecting the whole intellectual action. The intellect is vagabond, and our system of education fosters restlessness. Our minds travel when our bodies are forced to stay at home. We imitate; and what is imitation but the travelling of the mind? Our houses are built with foreign taste; our shelves are garnished with foreign ornaments; our opinions, our tastes, our faculties, lean, and follow the Past and the Distant. The soul created the arts wherever they have flourished. It was in his own mind that the artist sought his model. It was an application of his own thought to the thing to be done and the conditions to be observed. And why need we copy the Doric or the Gothic model? Beauty, convenience, grandeur of thought, and quaint expression are as near to us as to any, and if the American artist will study with hope and love the precise thing to be done by him, considering the climate, the soil, the length of the day, the wants of the people, the habit and form of the government, he will create a house in which all these will find themselves fitted, and taste and sentiment will be satisfied also.

Insist on yourself; never imitate. Your own gift you can present every moment with the cumulative force of a whole life's cultivation; but of the adopted talent of another, you have only an extemporaneous, half possession. That which each can do best, none but his Maker can teach him. No man yet knows what it is, nor can, till that person has exhibited it. Where is the master who could have taught Shakspeare? Where is the master who could have instructed Franklin, or Washington, or Bacon, or Newton? Every great man is a unique. The Scipionism of Scipio is precisely that part he could not borrow. Shakspeare will never be made by the study of Shakspeare. Do that which is assigned you, and you cannot hope too much or dare too much. There is at this moment for you an utterance brave and grand as that of the colossal chisel of Phidias, or trowel of the Egyptians, or the pen of Moses, or Dante, but different from all these. Not possibly will the soul all rich, all eloquent, with thousand-cloven tongue, deign to repeat itself; but if you can hear what these patriarchs say, surely you can reply to them in the same pitch of voice; for the ear and the tongue are two organs of one nature. Abide in the simple and noble regions of thy life, obey thy heart, and thou shalt reproduce the Foreworld again.

4. As our Religion, our Education, our Art look abroad, so does our spirit of society. All men plume themselves on the improvement of society, and no man improves.

Society never advances. It recedes as fast on one side as it gains on the other. It undergoes continual changes; it is barbarous, it is civilized, it is christianized, it is rich, it is scientific; but this change is not amelioration. For every thing that is given, something is taken. Society acquires new arts, and loses old instincts. What a contrast between the well-clad, reading, writing, thinking American, with a watch, a pencil, and a bill of exchange in his pocket, and the naked New Zealander, whose property is a club, a spear, a mat, and an undivided twentieth of a shed to sleep under! But compare the health of the two men, and you shall see that the white man has lost his aboriginal strength. If the traveller tell us truly, strike the savage with a broad axe, and in a day or two the flesh shall unite and heal as if you struck the blow into soft pitch, and the same blow shall send the white to his grave.

The civilized man has built a coach, but has lost the use of his feet. He is supported on crutches, but lacks so much support of muscle. He has a fine Geneva watch, but he fails of the skill to tell the hour by the sun. A Greenwich nautical almanac he has, and so being sure of the information when he wants it, the man in the street does not know a star in the sky. The solstice he does not observe; the equinox he knows as little; and the whole bright calendar of the year is without a dial in his mind. His note-books impair his memory; his libraries overload his wit; the insurance-office increases the number of accidents; and it may be a question whether machinery does not encumber; whether we have not lost by refinement some energy, by a Christianity entrenched in establishments and forms, some vigor of wild virtue. For every Stoic was a Stoic; but in Christendom where is the Christian?

There is no more deviation in the moral standard than in the standard of height or bulk. No greater men are now than ever were. A singular equality may be observed between the great men of the first and of the last ages; nor can all the science, art, religion, and philosophy of the nineteenth century avail to educate greater men than Plutarch's heroes, three or four and twenty centuries ago. Not in time is the race progressive. Phocion, Socrates, Anaxagoras, Diogenes, are great men, but they leave no class. He who is really of their class will not be called by their name, but will be his own man, and, in his turn, the founder of a sect. The arts and inventions of each period are only its costume, and do not invigorate men. The harm of the improved machinery may compensate its good. accomplished so much in their fishing-boats, as to astonish , whose equipment exhausted the resources of science and art. Galileo, with an opera-glass, discovered a more splendid series of celestial phenomena than any one since. Columbus found the New World in an undecked boat. It is curious to see the periodical disuse and perishing of means and machinery, which were introduced with loud laudation a few years or centuries before. The great genius returns to essential man. We reckoned the improvements of the art of war among the triumphs of science, and yet Napoleon conquered Europe by the bivouac, which consisted of falling back on naked valor, and disencumbering it of all aids. The Emperor held it impossible to make a perfect army, says , "without abolishing our arms, magazines, commissaries, and carriages, until, in imitation of the Roman custom, the soldier should receive his supply of corn, grind it in his hand-mill, and bake his bread himself."

Society is a wave. The wave moves onward, but the water of which it is composed does not. The same particle does not rise from the valley to the ridge. Its unity is only phenomenal. The persons who make up a nation to-day, next year die, and their experience with them.

And so the reliance on Property, including the reliance on governments which protect it, is the want of self-reliance. Men have looked away from themselves and at things so long, that they have come to esteem the religious, learned, and civil institutions as guards of property, and they deprecate assaults on these, because they feel them to be assaults on property. They measure their esteem of each other by what each has, and not by what each is. But a cultivated man becomes ashamed of his property, out of new respect for his nature. Especially he hates what he has, if he see that it is accidental, -- came to him by inheritance, or gift, or crime; then he feels that it is not having; it does not belong to him, has no root in him, and merely lies there, because no revolution or no robber takes it away. But that which a man is does always by necessity acquire, and what the man acquires is living property, which does not wait the beck of rulers, or mobs, or revolutions, or fire, or storm, or bankruptcies, but perpetually renews itself wherever the man breathes. "Thy lot or portion of life," said the Caliph Ali, "is seeking after thee; therefore be at rest from seeking after it." Our dependence on these foreign goods leads us to our slavish respect for numbers. The political parties meet in numerous conventions; the greater the concourse, and with each new uproar of announcement, The delegation from Essex! The Democrats from New Hampshire! The Whigs of Maine! the young patriot feels himself stronger than before by a new thousand of eyes and arms. In like manner the reformers summon conventions, and vote and resolve in multitude. Not so, O friends! will the God deign to enter and inhabit you, but by a method precisely the reverse. It is only as a man puts off all foreign support, and stands alone, that I see him to be strong and to prevail. He is weaker by every recruit to his banner. Is not a man better than a town? Ask nothing of men, and in the endless mutation, thou only firm column must presently appear the upholder of all that surrounds thee. He who knows that power is inborn, that he is weak because he has looked for good out of him and elsewhere, and so perceiving, throws himself unhesitatingly on his thought, instantly rights himself, stands in the erect position, commands his limbs, works miracles; just as a man who stands on his feet is stronger than a man who stands on his head.

So use all that is called Fortune. Most men gamble with her, and gain all, and lose all, as her wheel rolls. But do thou leave as unlawful these winnings, and deal with Cause and Effect, the chancellors of God. In the Will work and acquire, and thou hast chained the wheel of Chance, and shalt sit hereafter out of fear from her rotations. A political victory, a rise of rents, the recovery of your sick, or the return of your absent friend, or some other favorable event, raises your spirits, and you think good days are preparing for you. Do not believe it. Nothing can bring you peace but yourself. Nothing can bring you peace but the triumph of principles.

30 (March 1900): 628-33. , no. 47 (II Quarter 1967): 81-83. no. 47 (II Quarter 1967): 48-50. Also in . New York: Alfred A. Knopf, 1971. pp. 129-48. , pp. 46-64. New York: Seabury Press, 1976. , pp. xxiii-lxxiv. New York: Columbia UP, 1980. , 18 (1983): 98-107. , 55 (Dec. 1983): 507-524. . Baton Rouge: LSU P, 1984. , Thomas C. Heller ed., pp. 278-312, 350-351. Stanford: Stanford UP, 1986. . "The revisions of self-reliance." Chapter 4. , 29 (Winter 1990): 555-570. , 25 (August 1991): 189-211. , 84 (Oct 1991): 423-446. , 15 (Oct 1991): 286-294. , 48:4 (1994 Mar), 440-79. Thousand Oaks, CA: Sage P, 1995. , pp. 3-36. Baltimore, MD: Johns Hopkins UP, 1995. , 53:2 (1995 Winter), 81-82. 3 (1995): 89-103. , 55:1 (1996 Fall), 19-22. , 55:2 (1997 Winter), 79-80. 21 (1996): 17-28. , pp. 76-85, 109-112. . Cambridge: Belknap, 2003.

           
           
       

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Your chance of acceptance, your chancing factors, extracurriculars, does vcu have supplemental essays.

What's up, folks? I'm starting to work on my college applications and I was wondering if VCU has any supplemental essays as part of their application process. Does anyone here have any insight on this?

Hello! As of now, Virginia Commonwealth University (VCU) does not require supplemental essays as part of their regular application process. You only need to submit your Common Application or Coalition Application, which will include your personal essay. Keep in mind that university requirements may change from year to year, so it's always a good idea to double-check VCU's admissions website or reach out to their admissions office for the most up-to-date information on their application process.

Just be aware that there is an essay if you are applying to VCU's Honor's College.

That being said, as you work on your personal essay, it's essential to focus on telling a unique and engaging story that reflects your personality, experiences, and goals. Since VCU doesn't require additional essays, this is a crucial opportunity to make a lasting impression on the admissions officers. Best of luck with your college applications!

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Honors college essay vs the personal common app essay

I got accepted for VCU arts for the 2023 school year and I want to apply for the honors college. For the essay required by the honors college, how should it differ from the common app essay?

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VCU College of Health Professions

Occupational therapy, application.

All applications for the Entry Level Occupational Therapy Doctorate (EL-OTD) program are submitted online directly through  Occupational Therapist Centralized Application Services or OTCAS . OTCAS opens in mid-July and closes on December 1st.  

All application materials must be submitted to OTCAS.   Priority consideration will be given to applications completed by the preferred deadline of November 1st.  We will accept through the December 1st deadline when OTCAS closes. It takes some time to complete the online application, so it’s important that you begin the application process early. Information can be entered into the application pages over time allowing you to build the application gradually until it is complete. Be sure to review the entire contents of your application for accuracy prior to submission.

If you have applied to the VCU OT program previously you will need to reapply through OTCAS and VCU Graduate Admissions, with a new application. Transcripts and GRE scores will carry over. New written statements and letters of recommendation are needed.

Application Fees:   There are separate fees for OTCAS and VCU Graduate Admissions. OTCAS has a Fee Assistance Program . More details can be found at the OTCAS Application Fees and Fee Waivers webpage . 

The application consists of the following components, which  must be submitted by the November 1st deadline.

View our Application Checklist.

Early Decision - Deadline October 1st

The Early Decision process provides an opportunity for applicants to be considered for admission prior to the review of the general pool of applications.  The deadline for Early Decision is October 1 st . 

Considerations for applying Early Decision include:

  • VCU must be an applicant’s top choice of programs for OT education
  • Complete prerequisite coursework no later than the Fall semester in the year of application
  • Complete all other portions of the application in OTCAS by October 1 st deadline (See descriptions below - Earned Bachelor’s degree, Personal Statement, Value-Added Essay, Letters of Recommendation, Observation Hours, VCU Graduate School Application through OTCAS Applicant Gateway)
  • Notify [email protected] of your wish to be considered for Early Decision

Early Decision applications will be reviewed, interviews scheduled and offers made as early as possible.  Application through Early Decision does not guarantee admission.  The Committee reserves the right to defer an Early Decision applicant to the regular admissions process.  

Applicants accepted in the Early Decision process are expected to accept the offer of admission, pay the deposit, and enroll in the VCU Entry-Level Occupational Therapy Doctorate program.

A Bachelor’s Degree from an Accredited College or University

Students enter graduate education in OT from a wide variety of educational and work backgrounds. There is no particular major that is preferred over another. Students have entered the program with degrees in a wide range of majors including: psychology, biology, health or rehabilitation sciences, kinesiology, exercise science, physical education, anthropology, sociology, social work, English, foreign languages, history, political science, religion, communication, nutrition, art, art history, theatre, music, dance, recreational therapy, industrial design, special education and business. Diverse academic preparation makes for a wonderfully, rich collection of individuals in each cohort.

Transcripts from all colleges and universities attended, indicating an earned Bachelor’s degree and appropriate prerequisite courses must be submitted to OTCAS.

If you are still taking classes, as soon as your Fall semester grades are available, you must have your official Fall semester transcripts sent to OTCAS so that they can verify the grades that you post when OTCAS reopens for the Academic Update. It is imperative that you submit your Fall grades and transcripts as soon as possible. OTCAS will notify all applicants by email when they reopen for the Academic Update and your original transcript submission has been verified. This generally occurs after the Fall semester is complete.

Prerequisite Courses

All applicants must take the required 26 credits of prerequisite courses. These courses have been specifically selected to prepare students for success in the OT curriculum. Excellent performance in these courses is considered to be a good predictor of performance in our curriculum.  Courses in the EL-OTD program build upon the knowledge gained in these courses.

Please read the prerequisite course requirements carefully. Courses marked with an asterisk (i.e., Human Anatomy & Physiology I & II, Lifespan Development, Abnormal Psychology, and Statistics) require that no more than 7 years have elapsed from the course completion to the date of enrollment in the EL-OTD Program.

* Human Anatomy and Physiology (with labs) - Two semesters

8

*Statistics – A basic statistics course should cover, descriptive statistics, t-test, chi-square, analysis of variance (ANOVA), linear regression and correlative analysis.  We find that often an entry level statistics course does not cover the required content and that two statistics courses are needed to receive the content.

 

3

* Developmental Psychology or Lifespan Development - Development across the life span, i.e., from birth through elderly, is the emphasis of this prerequisite. Many courses say they cover the life span, but may primarily focus only on one area (e.g., childhood, adolescence, adulthood, or the elderly rather than all of these). Read course bulletins and course descriptions carefully and take course(s) that prepare you well across the life span. At some schools two semesters of development is necessary in order to cover the lifespan. If a child development course is taken, an adult development course or a course in aging must also be taken to cover the lifespan.

 

3

* Abnormal Psychology or Psychopathology

3

Sociology or Anthropology - These credits must be taken within Sociology or Anthropology departments.  These additional social science courses do not have a 7 year required time limit.

 

3

Other Social Sciences (psychology, sociology or anthropology) - These credits must be taken within Psychology, Sociology or Anthropology departments.  Introductory courses will count towards this requirement. Recommended courses include Cognitive Psychology or Psychology of Learning.  Political science, history and economics courses are not acceptable for this prerequisite requirement. These additional social science courses do not have a 7 year required time limit.

 

6

Minimum total prerequisite credits

Depending upon the number of courses that are taken to fulfill some prerequisites, applicants may end up with a higher number of prerequisite credits. 

 

26

In addition, although not required prerequisite courses, it is recommended that students take a  Kinesiology  and a  Medical Terminology  course.

PLEASE NOTE:  Prerequisite course credit for advanced placement courses or other learning or work experiences are not accepted for prerequisite credit. Prerequisite courses must have an earned letter grade. 

It is not necessary to have completed all prerequisite coursework by the application deadline of December 1. Applicants can complete prerequisite coursework being taken for the first time during the Spring semester before enrolling in the EL-OTD program for the Summer semester. Prerequisite courses being retaken must be completed in the preceding Fall semester and cannot be accepted if taken during the final Spring semester.  When completing your electronic transcript,  On your OTCAS application, be sure to include any Spring semester courses that you are taking, and/or those that you anticipate enrolling in.  If prerequisite courses are taken in the Spring, accepted applicants will be offered a provisional acceptance until a final transcript indicates that all outstanding prerequisite courses have been successfully completed at an "A" or "B" level. Any applicants who were offered provisional acceptance will be responsible for demonstrating that they completed their remaining prerequisites at the required "A" or "B" level before beginning the first day of class.

Graduate Record Examinations (GREs)

The GRE is optional, but not required for application. If you take the GRE, it can be sent to VCU, using the code 1219. The GRE is not scored individually as part of the application, but will be visible to reviewers.

Personal Statement

The Personal Statement to be written as one and a half to one and three-quarters (1 ½-1 ¾) single-spaced pages in 12-point Times-Roman font with 1” page margins and no more than 1200 words. The average file size is about 15 KB vs. the 5 MB file size allowable through OTCAS. The following prompt should be addressed:

Address why you selected occupational therapy as a career and how this degree relates to your immediate and long-term professional goals. We invite you to share how your lived experiences (e.g., personal, professional, cultural, etc.) have influenced your interest in pursuing OT.

Value-Added Essay

Essays are a way for us to learn more about your individuality. It is also a chance for you to highlight what you want us to know about you, that may not be apparent in other aspects of your application.  This additional essay should be distinctly different from your Personal Statement.  In 1-2 pages, share with us your unique knowledge, qualities, skills, and characteristics that you will bring to the next cohort of VCU OTD students.  Please provide examples or relate to your life experiences.

Letters of Recommendation

Three (3) letters of recommendation are required.  A recommendation from an occupational therapist is preferred, but not essential. Applicants should only ask OT practitioners for a letter if the practitioner knows the applicant sufficiently well to complete the reference fully. Other appropriate references are former college or university professors, academic advisors, employers and other healthcare providers. No personal references will be accepted. You will enter information for your references into OTCAS.  References will receive an invitation from OTCAS to complete an online rating form and upload their letter of recommendation. 

Observation Hours

Documentation of Observation Hours in two (2) different settings under the guidance of an OTR or COTA is required. The attached form or any documentation from the clinical site can be used to record and submit hours. Employment or an internship will count for hours at one (1) setting. 

Observation Verification Form

VCU Graduate School Application

After your OTCAS application has been submitted, you will receive an invitation to the Virginia Commonwealth University Entry-Level OTD program Applicant Gateway, where you can complete the application to the Graduate School and pay the application fee.  This is a fee to the VCU Graduate School, and is a separate fee from the OTCAS fee. 

Evaluation of Application

Holistic review involves considering the applicant’s experiences and personal attributes alongside their academic achievements. An applicant can demonstrate their knowledge of OT through the Personal Statement. The Personal Statement, Value-Added Essay and the Interview give applicants an opportunity to highlight their skills, qualities, and/or characteristics developed as a result of their unique life experiences. This accounts for 60% of the total application score, while academics account for 40% of the total score.

Diversity 60, Academics 40

VCU's Department of Occupational Therapy does not consider an applicant's race, gender or other protected characteristics, or legacy status, as a factor when determining admission.

Reviewers and Interviewers, of the Admissions and Recruitment Committee, are comprised of faculty and staff, current students, alumni, and OT practitioners. Reviewers review and score the written portions of the application. Interviewers are blinded to scores of the Reviewers, and rate applicants based on what is presented in the interview. Applicants are encouraged to share their own experiences to illustrate their points.

Scoring of the Personal Statement includes a basic understanding of the profession of OT, knowledge of the breadth and depth of the profession, and how pursuing a degree in OT is compatible with your personal and professional goals. Also included in the scoring are grammar, mechanics of writing, ability to convey ideas, and content.

In scoring the Value-Added Essay, we are looking for an applicant to describe what knowledge, skills, qualities, and/or characteristics you possess that you will contribute to a cohort of OTD students. Grammar, mechanics of writing, ability to convey ideas and content are also scored.

Scoring of the interview consists of professional presentation, knowledge and passion for OT, compassion and empathy, critical thinking, self-awareness, and knowledge of diversity, equity, and inclusion.

Guaranteed Admissions for VCU Honor College Students

Qualified VCU undergraduate students participating in the University Honors Program may apply for guaranteed admission to the occupational therapy program before matriculation at VCU or early in their undergraduate studies. For more information, contact the   The Honors College   at (804) 828-1803.

International Students

For non-native English-speaking applicants, regardless of immigration status, a Test of English as a Foreign Language (TOEFL) is required.  More information can be found here.  

How Do I Make My Application Competitive?

In your written statements and interview it is critical that you highlight your unique experiences and the skills, qualities, and characteristics that you have developed as a result of your experiences.

Applications with strong written statements tend to stand out. Your written statements are your introduction to the Committee. The Committee recommends that you start your essays early in the process and that you continue to edit and refine them, so you have produced documents that represent you well.

The Personal Statement and the Value-Added Essay are different. In the Personal Statement, applicants should demonstrate a basic understanding of the profession of OT, knowledge of the breadth and depth of the profession, and how pursuing a degree in OT is compatible with personal and professional goals. Observation experiences can help you in crafting your Personal Statement. In the Value-Added Essay, we want you to be more personal. We want to know about your knowledge, skills, qualities, or characteristics and how this contributes to your value as a member of a cohort of OTD students.

Letters of Recommendation are another area that can be overlooked in the application. When approaching references to write a Letter of Recommendation, make sure that you have chosen three persons that can write to your different attributes, strengths, and performance. You want your letters to be distinctive, so it may help to provide your references with what you would like to be addressed in their letter. Specific examples in letters are also very helpful. One letter from an occupational therapy practitioner is preferred. Make sure that this is someone that knows you and can write more about you than the fact that you observed for so many hours. 

Applicants should be aware that the occupational therapy licensing board,   National Board for Certification of Occupational Therapists (NBCOT),  may deny an individual the opportunity to sit for an examination if an applicant/student has a criminal history, is convicted of, pleads guilty or nolo contendere to a felony or other serious crime.  Successful completion of the EL-OTD at VCU does not guarantee licensure, the opportunity to sit for a licensure examination, certification or employment in the relevant heath care occupation.

  • First-Year Applicants
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Current VCU Students

  • Undergraduate Admissions FAQ
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  • How to Apply

Change or add Major/Minor

students installing exhibition at the anderson gallery

Submit an online application

All change of major/minor applicants to VCUarts must submit a change of major or change of minor application online. This process is for currently enrolled VCU students. Current VCUarts students should speak with their advisor before submitting these forms.

This online application asks for your personal and contact information, current and preferred curriculum. Any required supplemental materials (audition, essays, portfolio) will be shared after submitting a change of major/minor request.

Important deadlines

Fall 2024 deadlines.

April 1, 2024, for the following majors:

Art Education, Cinema, Communication Arts, Craft/Material Studies, Dance + Choreography, Fashion Design, Fashion Merchandising, Graphic Design, Interior Design, Kinetic Imaging, Music, Painting + Printmaking, Photography + Film, Sculpture + Extended Media, and Theatre.

Spring 2024 deadline

November 1, 2023

Deadline for change of major/minor applicants to Art Foundation, Art History, Dance + Choreography, Fashion Merchandising, Music, and Theatre.

The following Visual Arts and Design programs will review spring change of major/minor applications only from students who have completed VCU’s Art Foundation program: Art Education, Communication Arts, Craft/Material Studies, Fashion Design, Graphic Design,* Interior Design,* Kinetic Imaging, Painting + Printmaking, Photography + Film, and Sculpture + Extended Media.

*Please meet with an advisor for major-specific course limitations for spring admits.

Major or minor specific requirements

Students who have completed Art Foundation requesting a major in Art Education, Communication Arts, Craft/Material Studies, Kinetic Imaging, Painting + Printmaking, Photography + Film, or Sculpture + Extended Media must have their arts advisor submit the change of major request to bypass the portfolio requirement for these majors.

Students who have completed Art Foundation requesting a minor in Craft/Material Studies, Painting + Printmaking, or Sculpture + Extended Media must have their arts advisor submit the change of minor request to bypass the portfolio requirement for these minors.

Students with current majors outside of VCUarts may only apply for the Art Foundation program which is a prerequisite for visual arts and design programs. You must complete the change of major request and submit a portfolio in the VCUarts SlideRoom website .

Art Foundation is the first-year program required of all visual art and design (BFA) students. The exciting first year provides an intellectually rigorous, studio-based experience in the fundamental issues of art and design. The program exposes students to a vast forum of ideas and concepts preparing them for a wide range of disciplines.

Submit 12 to 16 works of art that you have created within the past two years that show your promise in visual art and design. Present your strongest work and demonstrate your potential to develop a diverse set of skills and ideas should you be accepted into VCUarts. We prefer to see a diverse range of 2D and 3D media. Drawing from observation is recommended, while copying anime, cartoons, graffiti or tattoos is discouraged.

  • Images may be submitted in the following formats: JPG, PNG, GIF, TIFF
  • Images can be up to 5 MB each
  • Videos may be submitted in the following formats: MPG or AVI.
  • Video can be up to 250 MB each. Each video must be less than 3 minutes. The total maximum time for all moving images cannot exceed 5 minutes.

You will be prompted to submit your portfolio through the VCUarts SlideRoom website .

Writing sample 

Prior to applying to major in Art History, students enrolled in a major outside of the School of the Arts must complete ARTH 103, 104 and one additional ARTH course.

Art History applicants are required to submit a research-based writing sample that makes a clear assertion about a selected topic and cites published sources to support your assertion. The paper may focus on a work of art, an historical event, a sociological phenomenon, a literary text, or other humanities topic. Your writing sample should be no longer than 600 words, including any citations. You will be emailed a link to submit your essay after submitting your VCU Change of Major Request, or you can submit your writing sample here after you have completed your VCU Change of Major Request.

Change of minor applicants do not have to submit a writing sample.

Majoring in Art History

Minoring in Art History

A minor in art history consists of 18 credits, which must include:

  • 3 credits ARTH 103
  • 3 credits ARTH 104
  • 3 credits from courses in list #1 (details can be found by following the link below)
  • 3 credits from courses in list #2 (details can be found by following the link below)

The remaining 6 credits may be any ARTH course at the 200-300 level open to non-majors (visit http://bulletin.vcu.edu/azcourses/ for a list of all ARTH courses), however only one history of film class (270, 271, 370, or 374) can be counted toward the art history minor.

Of the total 18 credits, 9 credits must be 300-level courses. Only courses in which a student earns a grade of C or higher may be applied to the minor. A student may apply for the Art History minor after successful completion of ARTH 103 and ARTH 104.

Additional information for the Art History minor curriculum can be found on the Department of Art History website.

Cinema essay

In 300 words or fewer, introduce us to a character for a movie – either a protagonist or an antagonist. Express your imagination by developing this character using elements such as description, backstory, drama and dialogue. This character must be your own original invention, not an adaptation from a story that already exists.

Visual storytelling exercise

In order to give us a sense of your artistic personality as a visual storyteller, use the VCUarts SlideRoom website to respond to the following prompt: Create an original series of 5-7 still images using your smartphone or camera. Submit the individual still images in a sequence that expresses your imagination and tells a story or establishes a mood. Photographs should be uploaded in sequential order. Use cinematic elements such as composition, lighting, location, props, costumes, etc. Let the images speak for themselves while conveying your style.

You will be prompted to submit your cinema essay and visual storytelling exercise after completing your change of major request .

This is a track for Communication Arts majors.

Accepted applicants will begin their courses in the following Spring Semester, as Spring Admits. Applicants should follow the Spring Deadlines listed above.

You must submit a portfolio in the VCUarts SlideRoom website .

Personal statement

While completing the online application, you must include a personal statement. In this brief statement, articulate your interest in the Visual Effects minor, including a detailed anticipated application of the minor to your primary field of study.

Visual effects scene description

You must complete a 300 – 500 word-long visual effects scene description of an original scene, with a focus on visual effects usage. Scene descriptions will be assessed by the following rubric: plot, structure and creativity.

Inspirational filmmakers and/or visual effects artists

You must l ist up to five favorite artists or filmmakers that inspire the you to create visual effects and you must explain why they inspire you.

Five cinematic photos or one 1- to 2-minute video

  • Upload items in the sequential order intended to convey a narrative.
  • Work samples may be taken with any device (e.g., cell phone, digital camera, film camera).
  • Photographic sequence/video will be assessed according to composition, lighting, story and creativity.

Minor is for individuals not majoring in Communication Arts.

You must complete the change of minor request and submit a portfolio in the VCUarts SlideRoom website .

Major in Dance

Dance applicants are required to audition for admission into the Department of Dance & Choreography. The auditionee will submit a short video based on movement prompts and exercises in improvisation, ballet, modern and West African, via the VCUarts SlideRoom website . An interview with the Dance faculty is also required.

Once your request has been submitted, applicants will receive an email from [email protected] with information regarding how to submit video auditions and schedule an interview. If you do not receive a confirmation email, please call the Dance department at 804-828-1711.

Minor in Dance

To apply to minor in Dance, you must have completed at least 8 credits of dance courses and have a cumulative VCU gpa of 3.0 or greater. No audition is required.

Submit your audition and schedule your virtual interview

A complete application must be submitted before you may submit an audition date.

Admission criteria

  • Talent and potential as an artist in the field of dance.
  • Prior training and the ability to demonstrate knowledge of modern dance and/or classical ballet techniques.
  • Ability to demonstrate musicality and dynamic range.
  • A healthy, physically conditioned body that is injury-free.
  • Openness to new ideas and the ability to engage in creative problem solving.

About the audition

VCU Dance welcomes students with varying levels of dance experience to audition for our program. The audition consists of a warm-up, a barre, modern center work, an improvisation section and a short interview.

The following attire is appropriate: leotards, tights, unitards, bike shorts with a leotard or fitted top, leggings and appropriate supportive undergarments. No socks. No dangling jewelry. Hair secured away from the face. Please wear either ballet or jazz shoes in the ballet section. The modern, West African and improvisation sections are barefoot.

Fashion Merchandising applicants have no required supplemental materials.

Admissions Criteria

  • Students from any department/major may request a minor in Fashion Merchandising, provided they have a 3.0 or higher GPA.
  • Students intending to minor in Fashion Merchandising must apply and be accepted as seeking a minor in Fashion Merchandising.
  • Students must see an advisor upon declaration of the Fashion Merchandising minor and once a semester thereafter.

The minor in Animation is housed in the Department of Kinetic Imaging and includes relevant elective options from majors across the School of the Arts.

The minor in Animation is for students who seek to combine technical and conceptual approaches to animation. Students can expect to gain a basic understanding of contemporary interdisciplinary animation practices, the history of animation and a background on the creative approaches to animation arts.

A minor in Animation consists of 18 credits:

  • KINE 245 Animation Practices (4 credits, required course)
  • ARTH 370 History of Animated Film (3 credits, required course)
  • KINE 405 Animation Studio (1 credit, required course, offered spring semester)
  • In addition, select 10 credits from the list of elective options, which includes a variety of relevant classes from across the School of the Arts

*please note that some courses may have prerequisites and may require an override or permission from the host dept/instructor

If a student takes 1-2 classes per semester, this minor can be completed in 1.5 – 3 academic years. Open to all VCU students! Acceptance is based on the review of the VCU Change of Major or Minor Application. A personal statement and a link to an online portfolio are required.

Personal statement: please communicate your experience in animation (if any), why this minor is interesting to you and how this minor will support your goals for learning and research.

Portfolio: the portfolio may contain still images (digital or hand drawn, not photo), storyboards, and moving images (can be motion graphics/animation). Once you complete the change of minor request form, you will receive a link to submit a portfolio through SlideRoom

Please take note of deadlines on  the application page , For questions, please email us at  [email protected] . Please note, admission into this minor is competitive. Consult with your academic advisor for degree progress questions before you apply.

The minor in sound design combines both technical and conceptual approaches to sound for video, film and stage. The focus is not on Music but rather on such practices as sound effects production including Foley, as well as field recording and voice over. The minor is a collaboration between the Department of Kinetic Imaging and the Department of Theatre and includes relevant elective options from majors across the School of the Arts.

A minor in sound design consists of 18 credits, nine of which must be at the 300-400 level:

  • 3 credits THEA 333 Sound Technology
  • 3 credits KINE 346 Survey of Sound Design
  • 12 credits from the list of elective options

Any VCU student may apply to the minor in sound design and acceptance is based on the review of the VCU Change of Major or Minor Application and a personal statement (see below).

Personal statement After completion of the change of minor request , please email a brief statement (approximately 300 words) to [email protected], in which you articulate your interest in sound design, an instance of effective sound design from something you’ve seen (and heard) recently, any relevant experience in sound design and how the minor might apply to your primary field of study.

Audition/interview

Once your application has been submitted, audition recordings must be submitted in the VCUarts SlideRoom website . Instrument-specific requirements can be found on the Department of Music website . Applicants will receive a link to SlideRoom after submitting the change of major request . Once audition videos have been submitted, the music department will contact the applicant to schedule an interview.

The music minor consists of 18 credits distributed among the areas of music history and theory, ensemble performance, private lessons and music electives. All students must provide their own instruments (with the exception of piano). All students must be able to read music. Students must have a minimum GPA of 2.5 in order to be considered for a minor in Music.

Voice minor Applicants are required to audition. You must play a short passage—at sight—on the piano and sing the same passage a capella. After completion of the change of minor application, students interested in minoring in voice will be contacted via university email. The student will then be connected to a Voice faculty member to schedule an audition. Voice auditions are usually held a few days before the beginning of each semester and at the end of each semester.

Strings minor (Cello, Classical Double Bass, Viola, and Violin) Applicants are required to audition. Prepare one composition or movement from the standard repertoire for their instrument no more than 10 minutes in length. You will also be required to perform scales. After completion of the change of minor application, you will be contacted via university email. You will then be connected to a Strings faculty member to schedule an audition.

Piano minor After completion of the change of minor application, you will be contacted via university email. You will then be connected to a Piano faculty member to schedule an audition.

Other instruments minor You will be asked a few questions about your musical experience and abilities during this online application. Once approved for the minor, Christine Hoffman, Academic Advisor for the Department of Music, counsels every student about the selection of appropriate courses based on the student’s competence and interest. Students interested in minoring in music (instrumental) should contact Christine Hoffman via email ( [email protected] )

Once your change of major request has been submitted, please create a SlideRoom account ; answer all questions, including callback date selection; and upload your materials.

Options are:

  • Friday, November 10, 12:30 – 5 pm (only callback date for Spring applicants)
  • Friday, December 1, 12:30 – 5 pm
  • Friday, January 19, 12:30 – 5 pm
  • Friday, January 26, 12:30 – 5 pm
  • Friday, February 2, 12:30 – 5 pm

Callbacks take place at the W.E Singleton Center for the Performing Arts , located at 922 Park Ave, Richmond, VA. The department will send more information in advance of your callback date.

At callbacks, Bachelor of Arts applicants come on campus to learn more about our programs, interview with faculty, tour our facilities, and meet current students and faculty. Parents are welcome to attend.

The purpose of the interview is to allow faculty members to get to know more about the applicant’s interests, commitment and communication skills. This interview is an important part of the application process. Applicants should be prepared to discuss their recent theatre activities, career goals, as well as personal goals and experiences. Please bring your resume to the interview.

Once your change of major request has been submitted (select “Theatre Foundation with concentration in Performance” as the major), please create a SlideRoom account ; answer all questions, including callback date selection; and upload your materials.

At Callbacks, applicants can expect to:

  • Interview with faculty in their area of interest.
  • Present their portfolio or appropriate audition pieces (details dependent on intended major).
  • Tour theatre facilities.
  • Talk with current students.
  • All students participate in a group general info and Q+A session.
  • Performers participate in group warm-ups.
  • Parents are encouraged to attend, too. We continue with a parent Q+A session after applicants head off to auditions/interviews.

Callbacks take place at the W.E Singleton Center for the Performing Arts, located at 922 Park Ave, Richmond, VA. The department will send more information in advance of your callback date.

At callbacks, Stage Management applicants come on campus to learn more about our programs, interview with faculty, tour our facilities, and meet current students and faculty. Parents are welcome to attend.

The purpose of the interview is to allow faculty members to get to know more about the applicant’s interests, commitment and communication skills. This interview is an important part of the application process. Applicants should be prepared to discuss their recent theatre activities, career goals, as well as personal goals and experiences. Please bring your prompt book to the interview.

In SlideRoom, submit 12 to 16 works of art that you have created within the past two years that show your promise in visual art and design. Present your strongest work and demonstrate your potential to develop a diverse set of skills and ideas should you be accepted into VCUarts. We prefer to see a diverse range of 2D and 3D media. Drawing from observation is recommended, while copying anime, cartoons, graffiti or tattoos is discouraged.

  • Video can be up to 30 MB each. Each video must be less than 3 minutes. The total maximum time for all moving images cannot exceed 5 minutes.

At callbacks, applicants can expect to:

Please fill out the change of minor form , and the theatre department will contact you with more information.

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VCU Personal Statement

tiararkelly 1 / 1   Jan 5, 2009   #1 Can someone please critique. I am a senior about to graduate from high school and need assistant prior to submitting essay with my application. Education and Life: A Personal Statement. In this essay, discuss your educational goals including why you wish to study your chosen major. The purpose of my essay is to discuss my educational goals and to elaborate as to why I wish to study in my chosen major. After I graduate, I would like to Major in Business Administration and Minor in Dance and Fashion Design. I would like to become a choreographer at a dance company and make costumes for dancers which will enable me to pursue both talents together. I will major in business while getting a minor in dance and fashion design to open bigger doors for the future. I would like to be my own entrepreneur by studying business which enable me to open my own dance company and fashion line. Starting out in my field as a choreographer, I want to join a modern dance company. As I grow as a dancer, I can branch out into my own company. I would like to form a versatile company with various types of dance. Mainly, it will be modern and hip hop oriented. Having my own school would be a big privilege so I could show children there are many ways in expressing your feelings. Opening my own fashion line of clothes and costumes for dancers is also a career job I would like to achieve. There are not many designer clothes that are affordable for everyone which I would like to make high class quality clothes affordable. Since I am a dancer I think clothes tell a story and I can make the perfect costume for specific dances. At the present, I am pursuing my goal during my junior and senior year in which I auditioned and was accepted into the Performing Arts for Dance at my present school, Woodbridge Senior High school. As a dance student, I have studied technique such as ballet, modern, and jazz, dance composition, anatomy/kinesiology, dance history and basic dance production. Just recently I presented a solo as a part of the exit requirement for the program. In my previous years, I auditioned for the Dance Team and succeeded while in 7th and 8th grade at Fred Lynn Middle school and again in 9th and 10th grade at C.D. Hylton High school. I have won several awards and trophies working as a team with my fellow members. After researching Virginia Commonwealth University, I feel that the university best fits my needs and ability of achieving my goals for the future. I have also received great input from current and previous students which has also confirmed my decision to attend VCU.

personal essay vcu

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personal essay vcu

This cover image released by Simon & Schuster shows “Something Lost, Something Gained: Reflections on Life, Love and Liberty” by Hillary Rodham Clinton. The book will be released Sept. 17. (Simon & Schuster via AP)

  • Copy Link copied

Hillary Clinton’s next book is a collection of essays, touching upon everything from marriage to politics to faith, that her publisher is calling her most personal yet.

Simon and Schuster announced Tuesday that Clinton’s “Something Lost, Something Gained: Reflections on Life, Love and Liberty” will be released Sept. 17.

Among the topics she will cover: Her marriage to former President Bill Clinton, her Methodist faith, adjusting to private life after her failed presidential runs, her friendships with other first ladies and her takes on climate change, democracy and Vladimir Putin.

“The book reads like you’re sitting down with your smartest, funniest, most passionate friend over a long meal,” Clinton’s editor, Priscilla Painton, said in a statement.

“This is the Hillary Americans have come to know and love: candid, engaged, humorous, self-deprecating — and always learning.”

Clinton, the former first lady, U.S. senator and secretary and presidential candidate, will promote her book with a cross country tour. “Something Lost, Something Gained” comes out two months before Bill Clinton’s memoir about post-presidential life, “Citizen.”

Image

Financial terms were not disclosed. Clinton was represented by Washington attorney Robert Barnett, whose other clients have included former President George W. Bush and former President Barack Obama.

Clinton’s previous books include such bestsellers as “It Takes a Village,” “Living History” and “What Happened.”

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COMMENTS

  1. Personal statements

    Personal statements are considered formal writing so you should avoid contractions (e.g., say "I have" instead of "I've"). Don't have run-on sentences. Break up long sentences and use appropriate punctuation to keep the essay flowing. Don't include filler/empty words to use characters or fill a page (e.g., sort of, kind of, very ...

  2. Personal Statements

    The personal statement provides an opportunity for you to set yourself apart from the competition — to present yourself as an individual rather than a transcript or a test score. As a result, a strong personal statement emerges from your character and authentic experience. However, many writers get caught up in talking about the experiences ...

  3. Virginia Commonwealth University

    The paper should be 2-3 pages double spaced. Essays may include, but are not limited to the following: Major influences on your intellectual and personal development, such as curricular and extracurricular experiences, community service or important people, events or ideas. Your immediate educational goals and plans for achieving them.

  4. PDF Writing A Personal Statement Activity

    Stay away from often-repeated statements. Avoid certain subjects. Experiences or accomplishments from high school or earlier are generally not a good idea, nor are potentially controversial subjects (such as religious or political issues). careers.vcu.edu. University Student Commons 907 Floyd Avenue, Room 143 • 804-828-1645. WRITING A ...

  5. Writing Center

    During our in-person hours, please call our front desk at (804) 828-4851 for assistance with appointments and other questions. Outside of these hours, please use our email address ( [email protected]) for any questions or concerns. Summer hours will run Monday, May 20, through Friday, August 9, 2024.

  6. Our services

    At the Writing Center, our student consultants offer an additional set of eyes and further perspective on your work before anyone stamps a grade on it. We're here to be your readers and listeners, regardless of what discipline you're in or what project you're working on. We serve both undergraduate and graduate students, providing in ...

  7. PDF Personal Statements Rubric

    Career Services careers.vcu.edu University Student Commons 907 Floyd Avenue, Room 143 • 804 -828 -1645 Rubric: Personal Statements Reviewyour Personal Statement and award + or - pointsbased on your evaluation of its "effective" or "ineffective"characteristics.

  8. PDF PERSONAL STATEMENT WORKSHEET

    PERSONAL STATEMENT WORKSHEET. University Student Commons 907 Floyd Avenue, Room 143 804-828-1645. careers.vcu.edu. Have you… Checked the character or word limit - you cannot go over; get as close to your limit as possible? Checked the prompt - make sure you answer all of the components or questions asked?

  9. Reflective Writing

    Reflective Essay Body. Here are some examples of how you might build reflect phrases in the body of your reflective essay. I have + improved + my ability to ______ = I have improved my ability to communicate. Having + learned _____, + I now + realize _______ = Having learned how to organize files, I now realize I enjoy it.

  10. PDF VCU Application Checklist for OTCAS

    application. This additional essay should be distinctly different from your Personal Statement. In 1-2 pages, share with us your unique knowledge, qualities, skills, and characteristics that you will bring to the next cohort of VCU OTD students. Please provide examples or relate to your life experiences.

  11. Personal Narrative

    Some VCU classes, like Focused Inquiry, use a shared curriculum that focuses on specific educational goals, including improving your writing process. The following are the skills around which the curriculum is centered: ... A personal narrative project will strengthen several of the above skills as you craft a narrative using your own ...

  12. VCU Acceptance Rate and Application Requirements

    4. Personal Essay: You'll need to answer one of the Common App essay prompts, which allows you to share more about yourself and your experiences in a 250-650 word essay. 5. Letter of Recommendation: VCU requires one letter of recommendation from a teacher, counselor, or another person who knows you well and can speak to your abilities. 6.

  13. Apply

    To request a paper copy of the current report, please contact the VCU Police Department by calling (804) 828-3851 or in person at 224 E. Broad St., Richmond, Virginia 23219. Student consumer information

  14. Application FAQs

    VCU Graduate Admissions allows the EL-OTD Graduate Admissions Committee to use the verified electronic transcripts for admissions purposes. ... The Personal Statement and the Value-Added Essay are different. In the Personal Statement, applicants should demonstrate a basic understanding of the profession of OT, knowledge of the breadth and depth ...

  15. VCU School of Nursing

    Personal Statement . Applicants to the School of Nursing are required to submit an essay. Please state concisely why you are interested in pursuing the B.S. in Nursing at VCU. Discuss your career goals and how having this degree will help you move toward your career goals. Please type or paste your personal statement in the space provided below.

  16. EMERSON

    Society is a joint-stock company, in which the members agree, for the better securing of his bread to each shareholder, to surrender the liberty and culture of the eater. The virtue in most request is conformity. Self-reliance is its aversion. It loves not realities and creators, but names and customs.

  17. Does VCU have supplemental essays?

    That being said, as you work on your personal essay, it's essential to focus on telling a unique and engaging story that reflects your personality, experiences, and goals. Since VCU doesn't require additional essays, this is a crucial opportunity to make a lasting impression on the admissions officers. Best of luck with your college applications!

  18. Honors college essay vs the personal common app essay : r/vcu

    It's just a typical college essay. You can answer the prompt. I'm the exact same boat (got accepted into vcuarts for fall 2023). I'm sure you already wrote it by now considering the priority deadline is like tmmrw lol. Butttt if you haven't the essay prompt was kind of difficult for me so I just basically talked about my goals and how the ...

  19. PDF PERSONAL STATEMENT

    PERSONAL STATEMENT University Student Commons 907 Floyd Avenue, Room 143 804-828-1645 careers.vcu.edu Your graduate school application usually includes your résumé / CV, transcript, letters of recommendation, ... business school applications favor multiple essays, asking for responses to three or more questions. Questions to ask before you write:

  20. Application

    If you have applied to the VCU OT program previously you will need to reapply through OTCAS and VCU Graduate Admissions, with a new application. ... The Personal Statement, Value-Added Essay and the Interview give applicants an opportunity to highlight their skills, qualities, and/or characteristics developed as a result of their unique life ...

  21. Current VCU Students

    This process is for currently enrolled VCU students. Current VCUarts students should speak with their advisor before submitting these forms. This online application asks for your personal and contact information, current and preferred curriculum. Any required supplemental materials (audition, essays, portfolio) will be shared after submitting a ...

  22. VCU Personal Statement

    VCU Personal Statement. tiararkelly 1 / 1 . Jan 5, 2009 #1. Can someone please critique. I am a senior about to graduate from high school and need assistant prior to submitting essay with my application. Education and Life: A Personal Statement. In this essay, discuss your educational goals including why you wish to study your chosen major. ...

  23. PDF Personal Statement Worksheet

    careers.vcu.edu . University Student Commons 907 Floyd Avenue, Room 143 . 804-828-1645 • VCU Career Services • PERSONAL STATEMENT WORKSHEET. What will you uniquely offer to and within the field (select 2-3) ... Is your personal statement too focused on the story, leaving out your insights that describe your motivation ...

  24. Hillary Clinton to release essay collection about personal and public

    Hillary Clinton's next book is a collection of essays, touching upon everything from marriage to politics to faith, that her publisher is calling her most personal yet.. Simon and Schuster announced Tuesday that Clinton's "Something Lost, Something Gained: Reflections on Life, Love and Liberty" will be released Sept. 17.