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The personal essay is often a free-wheeling device of self-expression. If you ever want to experiment with prose and with loosened structure, this is where you can do it. (If you're writing for a grade, though, make sure you understand what your instructor is looking for before you get too crazy!)
You will probably want to use quoted language in your personal essay. There is nothing like the "heard voice" to create the impression that this is real. Your readers are going along, reading your prose on the paper, and then they see someone saying "This is great stuff!" and they not only read and see, they . Spoken speech engages another whole sense and enriches the medium immensely. Unfortunately, using quoted language demands a whole set of typographical conventions the quotation marks themselves and the various commas and end-marks that are required. The Guide to Grammar and Writing contains a brief section on to help you. Review that section and take the quizzes on quotation marks before using quoted language in your own prose.
When using quoted speech, don't let a voice talk for very long in your essay; it will take over and start to sound weird. Only the greatest writers can handle speech effectively over a long period of time. Keep the speech elements brief which is how speech is in real life, after all. We're not allowed to say much before we're interrupted by others or by something else going on. Also, don't try to duplicate the speech of real life, the way people really talk. Tape record a dinner conversation some evening, when people don't know you're doing it, and you'll probably hear something quite unpleasant, something that should never be written down. Use conventional spelling, and don't leave out letters or try to recreate in spelling what you hear people say (He dozn't do nuthin'!); your readers will become more aware of your clever spelling than they are of what's going on in your essay.
Here we have a silly personal essay for you to consider. It was written by a college student named Silica Gelcap and is used here with his gracious permission. As you read it, try to figure out what the point of it might be and where that point is being made. Is it fun to read? What is the source of that fun? Enjoy!
"Used clumpable kitty litter. It's the greatest." He'd taken the contributions of Samantha his 18-year-old tabby clods about the size and shape of George Foreman's ears, and shaped them into likenesses of the U.S. presidents. He'd already gotten up to Millard Fillmore. "Tidy Scoop is best," he said, although he'd clearly tried others, including Fresh Step and Boomer's Best, as I could tell from empty plastic containers all over the basement. "Tidy Scoop is consistent and odor free and malleable. I just do the sculpture work, dry them out over there by the furnace, and give them a quick varnish."
What happened? To answer that, it helps to consider what gave rise to the personal essay’s ubiquity in the first place. Around 2008, several factors converged. In preceding years, private blogs and social platforms—LiveJournal, Blogspot, Facebook—trained people to write about their personal lives at length and in public. As Silvia Killingsworth, who was previously the managing editor of The New Yorker and took over the Awl and the Hairpin last year, put it to me, “People love to talk about themselves, and they were given a platform and no rules.” Then the invisible hand of the page-view economy gave them a push: Web sites generated ad revenue in direct proportion to how many “eyeballs” could be attracted to their offerings, and editorial budgets had contracted in the wake of the recession. The forms that became increasingly common—flashy personal essays, op-eds, and news aggregation—were those that could attract viral audiences on the cheap.
Sarah Hepola, who worked as Salon’s personal-essay editor, described the situation to me in an e-mail. “The boom in personal essays—at Salon, at least, but I suspect other places—was in part a response to an online climate where more content was needed at the exact moment budgets were being slashed.” When I worked as an editor at the Hairpin and Jezebel, from 2013 to 2016, I saw up close how friendly editors and ready audiences could implicitly encourage writers to submit these pieces in droves. For the first two years that I edited personal essays, I received at least a hundred first-person pitches and pieces each week.
But an ad-based publishing model built around maximizing page views quickly and cheaply creates uncomfortable incentives for writers, editors, and readers alike. Attention flows naturally to the outrageous, the harrowing, the intimate, and the recognizable, and the online personal essay began to harden into a form defined by identity and adversity—not in spite of how tricky it is to negotiate those matters in front of a crowd but precisely because of that fact. The commodification of personal experience was also women’s territory: the small budgets of popular women-focussed Web sites, and the rapidly changing conventions and constrictions surrounding women’s lives, . And so many women wrote about the most difficult things that had ever happened to them and received not much in return. Most sites paid a few hundred dollars for such pieces at most; xoJane paid fifty dollars. When I began writing on the Internet, I wrote personal essays for free.
For some writers, these essays led to better-paying work. But for many the thrill of reaching an audience had to suffice. And placing a delicate part of your life in the hands of strangers didn’t always turn out to be so thrilling. Personal essays cry out for identification and connection; what their authors often got was distancing and shame. Bennett pegged her Slate piece to an essay that Carmichael and I edited at Jezebel, written by a woman who had met her father for the first time as a teen-ager and engaged, under emotional coercion, in a brief sexual relationship with him. Bennett deemed the personal-essay economy a “dangerous force for the people who participate in it.”