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Should You Be Funny In Your College Essay + Examples

What’s Covered:

Why are college essays important, should you be funny in your college essay, tips for adding humor to your college essays, essay examples, how to make sure your humor is effective.

College essays are an important part of your application profile. They humanize you and provide you with the opportunity to prove that you’re an interesting individual beyond your grades and test scores. 

Some ways students humanize themselves include reflecting on their values, clueing readers into their backstory, showing off their personalities, or any combination of these. 

One question that may come up with regards to showing off your personality is: can I be funny in my college essay?

Read along to hear our expert opinion on the subject and tips for writing a funny essay, the right way. You can also check out a few examples of essays that have successfully included humor to give you a good idea of what’s appropriate for your writing.

To put it simply, college essays are needed because top colleges have lots of qualified candidates and, to get accepted, you need to stand out. It is estimated that, at top schools, there are at least four academically-qualified applicants for every open spot. This means that students hoping to gain admission to top schools must supplement outstanding grades with other outstanding qualities.

Ways to make yourself stand out include extracurriculars, recommendations and interviews, and essays. At the nation’s top schools, reports tell us that these non-academic factors are weighted respectively as accounting for 30%, 10%, and 25% of your overall admissions chances. The fact that essays account for 25% of your admissions chances means that they could be your key to acceptance at your dream school.

If you are interested in the specific factors that determine how important essays are for individual candidates at individual schools, check out this post .

Essays are heavily weighted in the admissions process because they are the only place where admissions officers get to hear directly from you. An individual’s voice says a lot about them—how mature they are, how comfortable they are with their experiences, and even how likable they are. These are important factors for admissions officers who are trying to see how you would fit in on their campus!

The gist of our answer: if your personality is funny, feel free to be funny! As we’ve said, an important opportunity provided to you by the college essay is the opportunity to show your personality. Humor, if done correctly, can be an important part of that.

That said, if you are only attempting humor because you think it is what admissions officers want to hear or because you think it will help you stand out, abandon ship and find a way to shape your essay that is true to your personality. Try writing down how you view your personality or ask friends and family for adjectives that describe your personality, then show that personality through your voice. It will be more natural this way!

Some elements of personality that could define your voice, if humor isn’t for you:

• Thoughtful/reflective
• Extroverted/social
• Charismatic
• Clever/witty
• Honest/authentic
• Considerate
• Practical/rational

Additionally, if you cannot follow some basic guidelines (listed below) for how to incorporate humor into your essay, you might want to change your course.

1. Be Appropriate

First things first: be appropriate. Humor is, of course, subjective, but make sure your subject matter would be considered appropriate by absolutely anyone reading it. Think about the most traditional person you know and make sure they would be okay with it. No jokes about sex, drugs, lying, crimes, or anything inappropriate—even if the joke is “obviously” against the inappropriate thing you are mentioning.

2. Don’t Be Overly Informal

You want your essay to position you as mature and intelligent, and the way you control language is a sign of maturity and intellect. That said, lots of humor—particularly the humor of young people and internet humor—are based on informality, intentional grammatical errors, and slang. These types of humor, while arguably funny, should be excluded from college essays!

As you write, remember that you know nothing about your admissions officer. Of course, you do not know their age, race, or gender, but you also don’t know their sense of humor. The last thing you want to do is make a joke with an intentional grammatical error and be perceived as unintelligent or make a joke with slang that confuses your reader and makes them think you don’t have a firm grasp of the English language.

3. Avoid Appearing Disrespectful or Inconsiderate

Humor often involves making fun of someone or something. It is very important that you do not make fun of the wrong things! In the last example, the student made fun of themself and their failed cooking experience. That is totally acceptable.

Things that you should not make fun of:

• Other people (particularly those in positions of authority)
• Political ideas
• Religious ideas
• Anything involving ethics, morals, or values

When you make fun of others, you risk sounding cold or unsympathetic. Admissions officers want to admit candidates who are mature and understand that they can never understand the struggles of others. That means you shouldn’t make a cutting joke about your old boss or an unintelligent politician who was running for your city mayor, even if they are the villain in your anecdote.

Similarly, avoid jokes about types of people. Avoid stereotypes in your jokes. 

In general, it is hard to write a humorous essay about a controversial subject. Controversial issues are typically issues that require deep thought and conversation, so if you intend to engage with them, you should consider a more reflective approach, or consider integrating reflection with your humor.

Here is an example of a student successfully poking fun at themself with their humor, while alluding to controversy:

My teenage rebellion started at age twelve. Though not yet technically a teenager, I dedicated myself to the cause: I wore tee shirts with bands on them that made my parents cringe, shopped exclusively at stores with eyebrow-pierced employees, and met every comforting idea the world offered me with hostility. Darkness was in my soul! Happiness was a construct meant for sheep! Optimism was for fools! My cynicism was a product of a world that gave birth to the War in Afghanistan around the same time it gave birth to me, that shot and killed my peers in school, that irreversibly melted ice caps and polluted oceans and destroyed forests. 

I was angry. I fought with my parents, my peers, and strangers. It was me versus the world. 

However, there’s a fundamental flaw in perpetual antagonism: it’s exhausting. My personal relationships suffered as my cynicism turned friends and family into bad guys in my eyes. As I kept up the fight, I found myself always tired, emotionally and physically. The tipping point came one morning standing at the bathroom sink before school.

This student engages with controversial subject matter, but the humorous parts are the parts where she makes fun of herself and her beliefs— “ Darkness was in my soul! Happiness was a construct meant for sheep! Optimism was for fools!” Additionally, the student follows up their humor with reflection: “ However, there’s a fundamental flaw in perpetual antagonism: it’s exhausting. My personal relationships suffered as my cynicism turned friends and family into bad guys in my eyes.”

This student is both funny and mature, witty and reflective, and, above all, a good writer with firm control of language.

4. Don’t Force It

We have already mentioned not to force humor, but we are mentioning it again because it is very important! 

Here is an example of a student whose forced humor detracts from the point of their essay:

To say I have always remained in my comfort zone is an understatement. Did I always order chicken fingers and fries at a restaurant? Yup! Sounds like me. Did I always create a color-coded itinerary just for a day trip? Guilty as charged. Did I always carry a first-aid kit at all times? Of course! I would make even an ambulance look unprepared. And yet here I was, choosing 1,000 miles of misery from Las Vegas to Seattle despite every bone in my body telling me not to.

The sunlight blinded my eyes and a wave of nausea swept over me. Was it too late to say I forgot my calculator? It was only ten minutes in, and I was certain that the trip was going to be a disaster. I simply hoped that our pre-drive prayer was not stuck in God’s voicemail box. 

As this student attempts to characterize themself as stuck in their ways (to eventually describe how they overcame this desire for comfort), their humor feels gimmicky. They describe their preparedness in a way that comes off as inauthentic. It’s funny to imagine them carrying around a first aid kit everywhere they go, but does the reader believe it? Then, when they write “ Was it too late to say I forgot my calculator? ” they create an image of themself as that goofy, overprepared kit in a sitcom. Sitcom characters don’t feel real and the point of a college essay is to make yourself seem like a real person to admissions officers. Don’t sacrifice your essay to humor.

5. Make Sure Your Humor Is Clear

Humor is subjective, so run your essay by people—lots and lots of people—to see if they are confused, offended, or distracted. Ask people to read your essay for content and see if they mention the humor (positively or negatively), but also specifically ask people what they think about the humor. Peer feedback is always important but becomes particularly useful when attempting a humorous essay.

Essay Example #1

Prompt: Tell us an interesting or amusing story about yourself from your high school years. (350 words)

Cooking is one of those activities at which people are either extremely talented or completely inept. Personally, I’ve found that I fall right in the middle, with neither prodigal nor abhorrent talents. After all, it’s just following instructions, right? Unfortunately, one disastrous night in my kitchen has me questioning that logic.

The task was simple enough: cook a turkey stir fry. In theory, it’s an extremely simple dish. However, almost immediately, things went awry. While I was cutting onions, I absentmindedly rubbed at my eyes and smeared my mascara. (Keep this in mind; it’ll come into play later.) I then proceeded to add the raw turkey to the vegetable pot. Now, as any good chef knows, this means that either the vegetables will burn or the turkey will be raw. I am admittedly not a good chef.

After a taste test, I decided to take a page out of the Spice Girls’ book and “spice up my life”, adding some red chili paste. This was my fatal mistake. The bottle spilled everywhere. Pot, counter, floor, I mean everywhere . While trying to clean up the mess, my hands ended up covered in sauce.

Foolishly, I decided to taste my ruined meal anyway. My tongue felt like it was on fire and I sprinted to the bathroom to rinse my mouth. I looked in the mirror and, noticing the raccoon eyes formed by my mascara, grabbed a tissue. What I had neglected to realize was that chili paste had transferred to the tissue—the tissue which I was using to wipe my eyes. I don’t know if you’ve ever put chili paste anywhere near your eyes, but here’s a word of advice: don’t. Seriously, don’t .

I fumbled blindly for the sink handle, mouth still on fire, eyes burning, presumably looking like a character out of a Tim Burton film. After I rinsed my face, I sat down and stared at my bowl of still-too-spicy and probably-somewhat-raw stir fry, wondering what ancient god had decided to take their anger out on me that night, and hoping I would never incur their wrath ever again.

What the Essay Did Well

This essay is an excellent example of how to successfully execute humor. The student’s informal tone helps to bridge the gap between them and the reader, making us feel like we are sitting across the table from them and laughing along. Speaking directly to the reader in sentences like, “ Keep this in mind; it’ll come into play later, ” and “ I don’t know if you’ve ever put chili paste anywhere near your eyes, but here’s a word of advice: don’t. Seriously, don’t,”  is a great tactic to downplay the formality of the essay.

The student’s humor comes through phrases like “ Now, as any good chef knows, this means that either the vegetables will burn or the turkey will be raw. I am admittedly not a good chef.” As this student plays on the common structure of “As any good (insert profession here) knows,” then subverts expectations, they make an easy-to-understand, casual but not flippant joke.

Similarly, the sentence “ I decided to take a page out of the Spice Girls’ book ,” reads in a light-hearted, funny tone. And, importantly, even if a reader had no idea who the Spice Girls were, they would recognize this as a pop-culture joke and would not be confused or lost in any way. The phrase “ raccoon eyes”  is another humorous inclusion—even if the reader doesn’t know what it’s like to rub their eyes while wearing mascara they can picture the rings around a raccoon and imagine the spectacle.

As you can see from this essay, humor works well when you engage universal and inoffensive concepts in ways that are casual enough to be funny, but still comprehensible.

Essay Example #2

Prompt: Due to a series of clerical errors, there is exactly one typo (an extra letter, a removed letter, or an altered letter) in the name of every department at the University of Chicago. Oops! Describe your new intended major. Why are you interested in it and what courses or areas of focus within it might you want to explore? Potential options include Commuter Science, Bromance Languages and Literatures, Pundamentals: Issues and Texts, Ant History… a full list of unmodified majors ready for your editor’s eye is available here. —Inspired by Josh Kaufman, AB’18

When I shared the video of me eating fried insects in Thailand, my friends were seriously offended. Some stopped talking to me, while the rest thought I had lost my mind and recommended me the names of a few psychologists. 

A major in Gastrophysics at UChicago is not for the faint hearted. You have to have a stomach for it! I do hope I am accepted to it as it is the only University in the U.S. with this unique major. My passion for trying unique food such as fish eye has made me want to understand the complexities of how it affects our digestive system. I understand that Gastrophysics started with a big pang of food, which quickly expanded to famish. Bite years are used to measure the amount of food ingested. I look forward to asking, “How many bite years can the stomach hold?” and “How do different enzymes react with the farticles?” 

Gastrophysics truly unravels the physics of food. At UChicago I will understand the intricacies of what time to eat, how to eat and how food will be digested. Do we need to take antiparticle acid if we feel acidity is becoming a matter of concern? At what angle should the mouth be, for the best possible tasting experience? When I tried crocodile meat, I found that at a 0 degree tilt, it tasted like fish and chicken at the same time. But the same tasted more like fish at a negative angle and like chicken at a positive angle. I want to unravel these mysteries in a class by Professor Daniel Holz in gravitational gastrophysics, understanding the unseen strong and weak forces at play which attract food to our stomachs. 

I find that Gastrophysics is also important for fastronomy. I want to learn the physics of fasting. How should we fast? Hubble bubble is a good chewing gum; an appetite suppressant in case you feel pangs of hunger. I have read how the UChicago Fastronauts are stepping up to test uncharted territories. Intermittent fasting is a new method being researched, and UChicago offers the opportunity for furthering this research. Which is better: fasting for 16 hours and eating for 8, or fasting for 24 hours twice a week? It is just one of the problems that UChicago offers a chance to solve. 

I can also study the new branch it offers that uses farticle physics. It is the science of tracking farticles and how they interact with each other and chemicals in the stomach space. It could give rise to supernovae explosions, turning people into gas giants. It would also teach about the best ways to expel gas and clean the system and prevent stomach space expansion. 

I want to take Fluid dynamics 101, another important course in Gastrophysics; teaching about the importance of water and other fluids in the body, and the most important question: what happens if you try to drink superfluids? 

I hope to do interdisciplinary courses with observational gastrophysicists and work with environmental science majors to track how much methane is given by the human and animal gastrointestinal tract in the atmosphere and how much it contributes to the global climate change. I believe, with the help of courses in date science, they have been able to keep a track of how much methane is entering each day, and they found that during Dec 24-Jan 3 period, a spike in the methane and ethane levels could be seen. Accordingly, algorithms are being programmed to predict the changes all year round. I would love to use my strong mathematical background to explore these algorithms. 

These courses are specially designed by the distinguished faculty of UChicago. Doing interdisciplinary research in collaboration with biological science students to determine what aliens may eat, with fart historians to know more about the intestinal structure of medieval Italians, Japanese, Chinese, Swedish and French people to better their lives is what I look forward to. The Paris study abroad program is an immersion course into fastronomy, where I will have the opportunity to test my self-control with all the amazing French food and desserts around! 

My stomach rumbles now, so I am going out to try out new food – hopefully it will be in Chicago a few months later. 

This is a fun essay! This student’s voice is present and their goofy personality is especially evident. Not only did they change the name of their major, but this student incorporated word play throughout the essay to showcase their imagination. Phrases like “ the big pang of food ”, “ bite years ”, “ fastronauts ”, and “ farticle physics ” keep the tone lighthearted and amusing.

Incorporating this style of humor takes a lot of creativity to be able to still convey your main idea while also earning a chuckle from your readers. While some jokes are a bit more low-brow—” farticles ” or “ fart historians ” for example—they are balanced out by some that are more clever and require a bit of thinking to get the A-ha moment (referencing the Hubble telescope as “ Hubble bubble chewing gum “). You might not feel comfortable including less sophisticated jokes in your essay at all, but if you do want to go down that path, having more intellectual sources of humor is important to provide balance.

Another positive of the essay is the continued thread of humor throughout. Sometimes humor is used as a tool in the introduction and abandoned in favor of practical information about the student. This essay manages to tell us about the student and their interests without sacrificing the laugh factor. Weaving humor throughout the essay like this makes the humor feel more genuine and helps us better understand this student’s personality.  

Essay Example #3

Prompt:   Describe a topic, idea, or concept you find so engaging that it makes you lose all track of time. Why does it captivate you? What or who do you turn to when you want to learn more? (650 words)

Scalding hot water cascades over me, crashing to the ground in a familiar, soothing rhythm. Steam rises to the ceiling as dried sweat and soap suds swirl down the drain. The water hisses as it hits my skin, far above the safe temperature for a shower. The pressure is perfect on my tired muscles, easing the aches and bruises from a rough bout of sparring and the tension from a long, stressful day. The noise from my overactive mind dies away, fading into music, lyrics floating through my head. Black streaks stripe the inside of my left arm, remnants of the penned reminders of homework, money owed and forms due. 

It lacks the same dynamism and controlled intensity of sparring on the mat at taekwondo or the warm tenderness of a tight hug from my father, but it’s still a cocoon of safety as the water washes away the day’s burdens. As long as the hot water is running, the rest of the world ceases to exist, shrinking to me, myself and I. The shower curtain closes me off from the hectic world spinning around me. 

Much like the baths of Blanche DuBois, my hot showers are a means of cleansing and purifying (though I’m mostly just ridding myself of the germs from children at work sneezing on me). In the midst of a hot shower, there is no impending exam to study for, no newspaper deadline to meet, no paycheck to deposit. It is simply complete and utter peace, a safe haven. The steam clears my mind even as it clouds my mirror. 

Creativity thrives in the tub, breathing life into tales of dragons and warrior princesses that evolve only in my head, never making their way to paper but appeasing the childlike dreamer and wannabe author in me all the same. That one calculus problem that has seemed unsolvable since second period clicks into place as I realize the obvious solution. The perfect concluding sentence to my literary analysis essay writes itself (causing me to abruptly end my shower in a mad dash to the computer before I forget it entirely).  

Ever since I was old enough to start taking showers unaided, I began hogging all the hot water in the house, a source of great frustration to my parents. Many of my early showers were rudely cut short by an unholy banging on the bathroom door and an order to “stop wasting water and come eat dinner before it gets cold.” After a decade of trudging up the stairs every evening to put an end to my water-wasting, my parents finally gave in, leaving me to my (expensive) showers. I imagine someday, when paying the water bill is in my hands, my showers will be shorter, but today is not that day (nor, hopefully, will the next four years be that day). 

Showers are better than any ibuprofen, the perfect panacea for life’s daily ailments. Headaches magically disappear as long as the water runs, though they typically return in full force afterward. The runny nose and itchy eyes courtesy of summertime allergies recede. Showers alleviate even the stomachache from a guacamole-induced lack of self-control. 

Honestly though, the best part about a hot shower is neither its medicinal abilities nor its blissful temporary isolation or even the heavenly warmth seeped deep into my bones. The best part is that these little moments of pure, uninhibited contentedness are a daily occurrence. No matter how stressful the day, showers ensure I always have something to look forward to. They are small moments, true, but important nonetheless, because it is the little things in life that matter; the big moments are too rare, too fleeting to make anyone truly happy. Wherever I am in the world, whatever fate chooses to throw at me, I know I can always find my peace at the end of the day behind the shower curtain.

While the humor in this essay isn’t as direct as the others, the subtle inclusion of little phrases in parentheses throughout the essay bring some comedy without feeling overbearing. 

The contrast of elegant and posh Blanche DuBois and “ germs from children at work sneezing on me ” paints an ironic picture that you can’t help but laugh at. The ability to describe universal experiences also brings a level of humor to the essay. For example, the reader might laugh at the line, “ abruptly end my shower in a mad dash to the computer before I forget it entirely,”  because it brings to mind moments when they have done the same.

This student also achieves a humorous tone by poking fun at themselves. Admitting that they were “ hogging all the hot water, ” leading to “ (expensive) showers, ” as well as describing their stomachache as a “ guacamole-induced lack of self-control, ” keeps the tone casual and easy-going. Everybody has their flaws, and in this case long showers and guacamole are the downfall of this student.

While the tips and tricks we’ve given you will be extremely helpful when writing, it’s often not that simple. Feedback is ultimately any writer’s best source of improvement—especially when it comes to an element like humor which, naturally, can be hit-or-miss! 

To get your college essay edited for free, use our Peer Review Essay Tool . With this tool, other students can tell you if your humor is effective/appropriate and help you improve your essay so that you can have the best chances of admission to your dream schools.

If you want a college admissions expert to review your essay, advisors on CollegeVine have helped students refine their writing and submit successful applications to top schools. Find the right advisor for you to improve your chances of getting into your dream school!

Related CollegeVine Blog Posts

How To Write: The Humorous Essay, for College Applications

There are all sorts of different essays that you can write for your college applications. The intellectual essay. The identity story. The tale of the underdog. Cardinal Education is here with a series on the different types of angles you’ll want to take in your writing. We’ll start with one of the most fun to write, yet one of the hardest to truly pull off: the humorous essay.

So, What Makes “Funny” Funny For College Admissions Officers?

There’s no doubt that funny essays can be wildly successful with admissions officers. The college application is all about showing off your personality, and what better way to show your personality off than by demonstrating that you know how to make a joke? Obviously, though, if you want to write a funny essay, it has to be funny. Here are our thoughts on how to achieve that.

Humor is so diverse and complex that there’s really no one way to define it. There’s self-deprecating humor, there’s slapstick humor, there’s wordplay, there’s satire, and more . Many will say that there’s no one formula to make something hilarious and that everyone has to find a way to be funny by themselves. While this is true to some extent, these are a few things that different styles of humor have in common:

Humor relies on the unexpected. This is the first thing that many will tell you in a how-to-be-funny guide: you can get your biggest laughs out of surprise twists and turns. Lead your audience to believe one thing will happen, then crack a joke about how the opposite actually occurred. Tell them how you expected a certain outcome, but something else happened and you couldn’t help but laugh. Or make a list where one of the items is not like the others. For example, things you learned while nature researching up North: the importance of biodiversity, the ability to work on a team, and…never leaving the house without an extra pair of socks. Think beyond simply telling a story to all the surprising things that happened along the way.

Humor is all about setup and delivery. Every punchline has a setup, and you’ll want to structure your narrative to set up for all the remarks you’re going to pepper through your piece. You don’t want to turn the whole thing into a joke after joke because then each one you write has less impact; instead, spend some time narrating the setups to your best punchlines in a way that makes them as—well—punchy as possible. Yet it’s not as though these narrations should be completely unfunny themselves. Think about the tone you’re trying to set, bring it ahead, and then yank the expectations right from under your readers’ feet.

Humor makes witty observations on the commonplace. This is part of the fact that it relies on the unexpected—it finds something new, fresh, and snappy to say about everyday things, from farming to fishing to the embarrassing moments that inevitably make up our lives. Poke some gentle fun at commonplace expectations and situations; stand-up comedians are experts at this. If you’re the type of person who can see something special in the mundane, admissions officers are sure to appreciate it.

Good humor punches up, rather than punching down. What is meant by this is that humor makes fun of those who are in a position of great power in society, rather than people who have relatively little power. You can joke about CEOs—that’s called satire—but not about janitors; that’s called classism. And you certainly can’t make jokes at the expense of students at your school that you don’t like—that’s called bullying. As you craft your essay, make sure to keep this in mind.

The Best Humor for College Essays Has a Point

Now you have a few pointers on how to write funny. You probably also have a few jokes in mind about your experiences. Once you start writing out what you’ve envisioned in your head, you then need to ask yourself: what is the overall point you’re trying to make?

This is the sort of thing that makes a lot of comedy great—it’s ultimately aimed at saying something deeper about society and about the way we do things. It would be good to learn from such comedy about how to tie your humor back to a deeper meaning behind it. Use your sense of humor to expose personal truths about what you’ve learned throughout the story of your journey. Use it to show admissions officers that you’re truly a better person, more ready for adulthood because of what you’ve discovered. If you can leave them in stitches while also leaving them with a profound takeaway, the beautiful picture you’ve created of yourself will be complete.

One Last Word of Advice: Don’t Force It

If you find yourself struggling too hard to write any of this, trying to force out jokes, then maybe the humorous essay is not your style. This essay can be a favorite at the admissions table if done right, but potentially disastrous if it’s not. Perhaps you’re not a natural comedian, and that’s perfectly fine. What matters most is that your essay reflects who you are on the page; maybe in our next installment of the How To series, you’ll find what’s best for you!

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12 Unforgettable College Application Essays

It's been a long time since I penned my college application essays, but that doesn't mean I don't still appreciate them. On the contrary: I think memorable college admissions essays are to be applauded. Why? Because anyone who can make theirs interesting, thus bringing a modicum of relief to those who have to actually sit there and plow through them all, definitely deserves some acknowledgment for their work. And hey, wouldn't you know it? That's the subject of today's AskReddit thread: “ College admissions counselors of Reddit , what's the weirdest/worst/most memorable essay you've read?”

As is wont to happen in an AskReddit thread, many — possibly even the majority, although I haven't actually counted them, so do with that what you will — of the responses did not come from their intended source; in this case, we're talking about college admissions officers. Some of them were submitted by the people who wrote them; others by people who knew the writers in question; and still others have the “a friend of a friend who dated my cousin's best friend” level of remove that can sometimes bring their veracity into question. Either way, though, they're all good for a laugh — and a few of them might even teach you something. Full steam ahead for a wide variety of lessons in what to do while writing your college application essays — and what not to do, too.

Here are 12 of the most notable examples; head on over to AskReddit for more . Oh, and for anyone who's waiting on their acceptance letters? Good luck! I believe in you!

1. The Theory of Cat/Toast Equilibrium

But… what does happen? I must know!

While we're on the subject, the University of Chicago seems like they've mastered the art of making college applications not boring for the people who actually have to read them. Check out some of essay prompts from this year's app:

Not going to lie: I am considering writing answers for them just for the hell of it. Because you know what? It actually sounds — dare I say it? — fun.

2. Law and Order: College Application Essays Unit

I would imagine that would be a pretty terrifying read. Quick, teach her to use her powers for the forces of good!

3. The Legendary Hugh Gallagher Essay

You may already be familiar with this one, but for the curious, here's the story behind it: Humorist, writer, and musician Hugh Gallagher penned the glorious satiric creation excerpted here for Scholastic Press' national writing contest when he was in high school. Unsurprisingly, he won. For some years, there was confusion surrounding whether or not he actually used it as his college essay; in 1998, though, Gallagher emailed University of York comp sci professor Susan Stepney , who had posted the essay on her website, noting that he did in fact send it along with his applications. For the curious, he ultimately attended NYU. Here's the permalink for the full comment — it's worth just for the final line. Trust me.

4. The Power of the Mighty Trombone

I was unable to discern whether or not this one actually happened or whether it's just an urban legend — but I'm willing to bet it's the latter. Either way, though, I think it's a terrible way to try to teach the “think outside the box” lesson; I feel like it encourages laziness more than anything else. But maybe that's just me.

5. How to Get Into Yale

That, though? That's pretty funny. Well played.

6. The Key to Effective Multitasking

Here's the thing with writing humorous college application essays: They only work if you're actually… y'know… funny. I feel like maybe the right person might have been able to make this idea work, but the execution of the idea this time around just wasn't up to par. However, this also happened:

Small world, no?

7. Art History Is Best History

Either the admissions officers loved it, or they didn't actually read it. The jury's still out on which one it is.

8. We Are Gathered Here Today…

To be fair, I'm not totally sure what's to be gained by sending your own obituary as a college essay; unless the prompt was something like, “Write whatever you want, as long as it is at least 500 words long,” it doesn't seem like it would really answer any questions the admissions committee might be relying on the essay to fill them in about. At the same time, though, clearly someone could have used a little Journalism 101.

9. An Act of Valor

This one was copied from another thread and pasted in this one , but I think it's definitely a winner.

10. The Importance of Proofreading

Ouch. Just… ouch.

11. The Legacies

Oh, come on. I wouldn't blame these two for using their legacy to help them get a leg up — but relying solely on it like this? That's cheating. Also, shame on the school that let them get away with it.

12. Hardboiled Washington

I hope this Redditor is planning on studying creative writing. You've got a great future ahead of you, kid — even if you do need a little work with your punctuation and grammar.

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Home / Blog / Colleges / Humor and the College Application Essay

Humor and the College Application Essay

Very rare is the teenager who is devoid of personality yet college essays often sound like they’ve been written by someone wearing an obnoxiously over-starched tuxedo while facing a firing squad. Your essay should reveal something about your personality and character to give your reader a good sense of who you are and to differentiate yourself from other applicants. Humor, even in small amounts, can do just that.

“Ellen” exhibited a love of and commitment to dance. There was no doubt that this would be the topic for her essay.  She’d been taking dance lessons for over 12 years, multiple nights per week, and couldn’t get enough of it.  Her most embarrassing moment, however, also had to do with dance, as she tripped on her way into a formal ball at a local military high school.

The coincidence was perfect!  Starting the essay with a dramatic and self-effacing description of her inauspicious entrance into a formal school military ball was a real attention grabber and a fantastic transition to her impressive commitment to dance.  Schools learn that she’s not afraid to make a commitment, that she works hard, that perhaps she’ll bring her dance talent to their campus, AND that she has a wonderful sense of humor that allows her to laugh…even at herself!

The person reading your essay is often reading hundreds of them, and while you may not have done something that no other person in that applicant pool has done, you can present it in such a way that makes it memorable.

Another applicant, for example, had an extensive commitment to community service and started her essay by indicating that she wanted to work at Walmart.  She hooked her reader with this rather odd proclamation for a college-bound student, but then went on to explain that Walmart has a foundation that donates significant money to charitable causes, and that was exactly the kind of work the student wanted to be doing some day.

Sometimes the humor can be short and subtle, but it adds a really nice flavor to your essay.  One young man babysits for a significantly impaired 13 year old who is almost entirely non-verbal but still manages to get his point across.  In the essay, the writer indicates that he speaks three languages, English, Spanish, and “David”.

When you include humor in your essay , you can go on to share your accomplishments without sounding arrogant, and, in fact, you will have made your point in a very memorable way.

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Should college essays touch on race? Some feel the affirmative action ruling leaves them no choice

CHICAGO — When she started writing her college essay, Hillary Amofa told the story she thought admissions offices wanted to hear. About being the daughter of immigrants from Ghana and growing up in a small apartment in Chicago. About hardship and struggle.

Then she deleted it all.

“I would just find myself kind of trauma-dumping,” said the 18-year-old senior at Lincoln Park High School in Chicago. “And I’m just like, this doesn’t really say anything about me as a person.”

When the Supreme Court ended affirmative action in higher education, it left the college essay as one of few places where race can play a role in admissions decisions. For many students of color, instantly more was riding on the already high-stakes writing assignment. Some say they felt pressure to exploit their hardships as they competed for a spot on campus.

Amofa was just starting to think about her essay when the court issued its decision, and it left her with a wave of questions. Could she still write about her race? Could she be penalized for it? She wanted to tell colleges about her heritage but she didn’t want to be defined by it.

In English class, Amofa and her classmates read sample essays that all seemed to focus on some trauma or hardship. It left her with the impression she had to write about her life’s hardest moments to show how far she’d come. But she and some of her classmates wondered if their lives had been hard enough to catch the attention of admissions offices.

“For a lot of students, there’s a feeling of, like, having to go through something so horrible to feel worthy of going to school, which is kind of sad,” said Amofa, the daughter of a hospital technician and an Uber driver.

This year’s senior class is the first in decades to navigate college admissions without affirmative action . The Supreme Court upheld the practice in decisions going back to the 1970s, but this court’s conservative supermajority found it is unconstitutional for colleges to give students extra weight because of their race alone.

Still, the decision left room for race to play an indirect role: Chief Justice John Roberts wrote universities can still consider how an applicant’s life was shaped by their race, “so long as that discussion is concretely tied to a quality of character or unique ability.”

“A benefit to a student who overcame racial discrimination, for example, must be tied to that student’s courage and determination,” he wrote.

Scores of colleges responded with new essay prompts asking about students’ backgrounds. Brown University asked applicants how “an aspect of your growing up has inspired or challenged you.” Rice University asked students how their perspectives were shaped by their “background, experiences, upbringing, and/or racial identity.”

WONDERING IF SCHOOLS 'EXPECT A SOB STORY'

When Darrian Merritt started writing his essay, he knew the stakes were higher than ever because of the court’s decision. His first instinct was to write about events that led to him going to live with his grandmother as a child.

Those were painful memories, but he thought they might play well at schools like Yale, Stanford and Vanderbilt.

“I feel like the admissions committee might expect a sob story or a tragic story,” said Merritt, a senior in Cleveland. “And if you don’t provide that, then maybe they’re not going to feel like you went through enough to deserve having a spot at the university. I wrestled with that a lot.”

He wrote drafts focusing on his childhood, but it never amounted to more than a collection of memories. Eventually he abandoned the idea and aimed for an essay that would stand out for its positivity.

Merritt wrote about a summer camp where he started to feel more comfortable in his own skin. He described embracing his personality and defying his tendency to please others. The essay had humor — it centered on a water gun fight where he had victory in sight but, in a comedic twist, slipped and fell. But the essay also reflects on his feelings of not being “Black enough” and getting made fun of for listening to “white people music.”

“I was like, ‘OK, I’m going to write this for me, and we’re just going to see how it goes,’” he said. “It just felt real, and it felt like an honest story.”

The essay describes a breakthrough as he learned “to take ownership of myself and my future by sharing my true personality with the people I encounter. ... I realized that the first chapter of my own story had just been written.”

A RULING PROMPTS PIVOTS ON ESSAY TOPICS

Like many students, Max Decker of Portland, Oregon, had drafted a college essay on one topic, only to change direction after the Supreme Court ruling in June.

Decker initially wrote about his love for video games. In a childhood surrounded by constant change, navigating his parents’ divorce, the games he took from place to place on his Nintendo DS were a source of comfort.

But the essay he submitted to colleges focused on the community he found through Word is Bond, a leadership group for young Black men in Portland.

As the only biracial, Jewish kid with divorced parents in a predominantly white, Christian community, Decker wrote he constantly felt like the odd one out. On a trip with Word is Bond to Capitol Hill, he and friends who looked just like him shook hands with lawmakers. The experience, he wrote, changed how he saw himself.

“It’s because I’m different that I provide something precious to the world, not the other way around,” he wrote.

As a first-generation college student, Decker thought about the subtle ways his peers seemed to know more about navigating the admissions process . They made sure to get into advanced classes at the start of high school, and they knew how to secure glowing letters of recommendation.

If writing about race would give him a slight edge and show admissions officers a fuller picture of his achievements, he wanted to take that small advantage.

His first memory about race, Decker said, was when he went to get a haircut in elementary school and the barber made rude comments about his curly hair. Until recently, the insecurity that moment created led him to keep his hair buzzed short.

Through Word is Bond, Decker said he found a space to explore his identity as a Black man. It was one of the first times he was surrounded by Black peers and saw Black role models. It filled him with a sense of pride in his identity. No more buzzcut.

The pressure to write about race involved a tradeoff with other important things in his life, Decker said. That included his passion for journalism, like the piece he wrote on efforts to revive a once-thriving Black neighborhood in Portland. In the end, he squeezed in 100 characters about his journalism under the application’s activities section.

“My final essay, it felt true to myself. But the difference between that and my other essay was the fact that it wasn’t the truth that I necessarily wanted to share,” said Decker, whose top college choice is Tulane, in New Orleans, because of the region’s diversity. “It felt like I just had to limit the truth I was sharing to what I feel like the world is expecting of me.”

SPELLING OUT THE IMPACT OF RACE

Before the Supreme Court ruling, it seemed a given to Imani Laird that colleges would consider the ways that race had touched her life. But now, she felt like she had to spell it out.

As she started her essay, she reflected on how she had faced bias or felt overlooked as a Black student in predominantly white spaces.

There was the year in math class when the teacher kept calling her by the name of another Black student. There were the comments that she’d have an easier time getting into college because she was Black .

“I didn’t have it easier because of my race,” said Laird, a senior at Newton South High School in the Boston suburbs who was accepted at Wellesley and Howard University, and is waiting to hear from several Ivy League colleges. “I had stuff I had to overcome.”

In her final essays, she wrote about her grandfather, who served in the military but was denied access to GI Bill benefits because of his race.

She described how discrimination fueled her ambition to excel and pursue a career in public policy.

“So, I never settled for mediocrity,” she wrote. “Regardless of the subject, my goal in class was not just to participate but to excel. Beyond academics, I wanted to excel while remembering what started this motivation in the first place.”

WILL SCHOOLS LOSE RACIAL DIVERSITY?

Amofa used to think affirmative action was only a factor at schools like Harvard and Yale. After the court’s ruling, she was surprised to find that race was taken into account even at some public universities she was applying to.

Now, without affirmative action, she wondered if mostly white schools will become even whiter.

It’s been on her mind as she chooses between Indiana University and the University of Dayton, both of which have relatively few Black students. When she was one of the only Black students in her grade school, she could fall back on her family and Ghanaian friends at church. At college, she worries about loneliness.

“That’s what I’m nervous about,” she said. “Going and just feeling so isolated, even though I’m constantly around people.”

The first drafts of her essay focused on growing up in a low-income family, sharing a bedroom with her brother and grandmother. But it didn’t tell colleges about who she is now, she said.

Her final essay tells how she came to embrace her natural hair . She wrote about going to a mostly white grade school where classmates made jokes about her afro. When her grandmother sent her back with braids or cornrows, they made fun of those too.

Over time, she ignored their insults and found beauty in the styles worn by women in her life. She now runs a business doing braids and other hairstyles in her neighborhood.

“I stopped seeing myself through the lens of the European traditional beauty standards and started seeing myself through the lens that I created,” Amofa wrote.

“Criticism will persist, but it loses its power when you know there’s a crown on your head!”

Ma reported from Portland, Oregon.

The Associated Press’ education coverage receives financial support from multiple private foundations. AP is solely responsible for all content. Find AP’s standards for working with philanthropies, a list of supporters and funded coverage areas at AP.org .

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Donald Trump and Megan Mullally performing the Green Acres theme song at the Emmy Awards, Los Angeles, September 2005

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In the Warsaw Ghetto in October 1941 Mary Berg, then a teenager, wrote in her diary about the improbable persistence of laughter in that hellish place:

Every day at the Art Café on Leszno Street one can hear songs and satires on the police, the ambulance service, the rickshaws, and even the Gestapo, in a veiled fashion. The typhus epidemic itself is the subject of jokes. It is laughter through tears, but it is laughter. This is our only weapon in the ghetto—our people laugh at death and at the Nazi decrees. Humor is the only thing the Nazis cannot understand.

Berg here movingly expresses a common and comforting idea. Laughter is one of the few weapons that the weak have against the strong. Gallows humor is the one thing that cannot be taken away from those who are about to be hanged, the final death-defying assertion of human dignity and freedom. And the hangmen don’t get the jokes. Fascists don’t understand humor.

There is great consolation in these thoughts. Yet is it really true that fascists don’t get humor? Racist, misogynistic, antisemitic, xenophobic, antidisabled, and antiqueer jokes have always been used to dehumanize those who are being victimized. The ghetto humor that Berg recorded was a way of keeping self-pity at bay. But as Sigmund Freud pointed out, jokes can also be a way of shutting down pity itself by identifying those who are being laughed at as the ones not worthy of it: “A saving in pity is one of the most frequent sources of humorous pleasure.” Humor, as in Berg’s description, may be a way of telling us not to feel sorry for ourselves. But it is more often a way of telling us not to feel sorry for others. It creates an economy of compassion, limiting it to those who are laughing and excluding those who are being laughed at. It makes the polarization of humanity fun.

Around the time that Berg was writing her diary, Theodor Adorno and Max Horkheimer were pointing to the relationship between Nazi rallies and this kind of comedy. The rally, they suggested, was an arena in which a release that was otherwise forbidden was officially permitted:

The anti-Semites gather to celebrate the moment when authority lifts the ban; that moment alone makes them a collective, constituting the community of kindred spirits. Their ranting is organized laughter. The more dreadful the accusations and threats, the greater the fury, the more withering is the scorn. Rage, mockery, and poisoned imitation are fundamentally the same thing.

Donald Trump is not a Nazi, and his followers are (mostly) not fascists. But it is not hard to see how this description resonates with his campaign appearances. Trump is America’s biggest comedian. His badinage is hardly Wildean, but his put-downs, honed to the sharpness of stilettos, are many people’s idea of fun. For them, he makes anger, fear, and resentment entertaining.

For anyone who questions how much talent and charisma this requires, there is a simple answer: Ron DeSantis. Why did DeSantis’s attempt to appeal to Republican voters as a straitlaced version of Trump fall so flat? Because Trumpism without the cruel laughter is nothing. It needs its creator’s fusion of rage, mockery, and poisoned imitation, whether of a reporter with a disability or (in a dumb show that Trump has been playing out in his speeches in recent months) of Joe Biden apparently unable to find his way off a stage. It demands the withering scorn for Sleepy Joe and Crooked Hillary, Crazy Liz and Ron DeSanctimonious, Cryin’ Chuck and Phoney Fani. It requires the lifting of taboos to create a community of kindred spirits. It depends on Trump’s ability to be pitiless in his ridicule of the targets of his contempt while allowing his audience to feel deeply sorry for itself. (If tragedy, as Aristotle claimed, involves terror and pity, Trump’s tragicomedy deals in terror and self-pity.)

Hard as it is to understand, especially for those of us who are too terrified to be amused, Trump’s ranting is organized laughter. To understand his continuing hold over his fans, we have to ask: Why is he funny?

This is not the 1930s or the 1940s, and we should not expect this toxic laughter to be organized quite as it was then. Trump functions in a culture supersaturated with knowingness and irony. In twentieth-century European fascism, the relationship between words and actions was clear: the end point of mockery was annihilation. Now, the joke is “only a joke.” Populist politics exploits the doubleness of comedy—the way that “only a joke” can so easily become “no joke”—to create a relationship of active connivance between the leader and his followers in which everything is permissible because nothing is serious.

This shift has happened in Europe, too. Think of Boris Johnson’s clown act, his deliberately ruffled hair, rumpled clothes, and ludicrous language. Or think of Giorgia Meloni, the first Italian prime minister from the far right since Benito Mussolini, posting on election day in September 2022 a TikTok video of herself holding two large melons ( meloni in Italian) in front of her breasts: fascism as adolescent snigger. It is impossible to think of previous far-right leaders engaging in such public self-mockery. Only in our time is it possible for a politician to create a sense of cultlike authority by using the collusiveness of comedy, the idea that the leader and his followers are united by being in on the joke.

Trump may be a narcissist, but he has a long history of this kind of self-caricature. When he did the Top Ten List on the David Letterman show in 2009, he seemed entirely comfortable delivering with a knowing smirk the top ten “financial tips” written for him, including “When nobody’s watching I go into a 7/11 and stick my head under a soda nozzle”; “Save money by styling your own hair” (pointing to his own improbable coiffure); “Sell North Dakota to the Chinese”; “If all else fails, steal someone’s identity”; and “The fastest way to get rich: marry and divorce me.” This performance, moreover, was the occasion for Trump’s entry into the world of social media. His first ever tweet was: “Be sure to tune in and watch Donald Trump on Late Night with David Letterman as he presents the Top Ten List tonight!”

At the 2005 Emmy Awards, Trump dressed in blue overalls and a straw hat and, brandishing a pitchfork, sang the theme song from the 1960s TV comedy Green Acres . Trump is a terrible singer and a worse actor, but he seemed completely unembarrassed on stage. He understood the joke: that Oliver, the fictional character he was impersonating, is a wealthy Manhattanite who moves to rustic Hooterville to run a farm, following his dream of the simple life—an alternative self that was amusing because it was, for Trump, unimaginable. But he may have sensed that there was also a deep cultural resonance. The Apprentice was “reality TV ,” a form in which the actual and the fictional are completely fused.

Green Acres , scenes from which played on a screen behind Trump as he was singing, pioneered this kind of metatelevision. Its debut episode set it up as a supposed documentary presented by a well-known former newscaster. Its characters regularly broke the fourth wall. When Oliver launched into rhapsodic speeches about American rural values, a fife rendition of “Yankee Doodle” would play on the soundtrack, and the other characters would move around in puzzlement trying to figure out where the musician was. Eva Gabor, playing Oliver’s pampered wife, admits on the show that her only real talent is doing impressions of Zsa Zsa Gabor, the actor’s more famous real-life sister.

The critic Armond White wrote in 1985 that “ Green Acres ’ surreal rationale is to capture the moment American gothic turns American comic.” Trump playing Oliver in 2005 may be the moment American comedy turned gothic again. Whoever had the idea of connecting Trump back to Green Acres clearly understood that “Donald Trump” had by then also become a metatelevision character, a real-life failed businessman who impersonated an ultrasuccessful mogul on The Apprentice . And Trump went along with the conceit because he instinctively understood that self-parody was not a threat to his image—it was his image. This connection to Green Acres was reestablished by Trump himself as president of the United States. In December 2018, as he was about to sign the Farm Bill into law, Trump tweeted, “Farm Bill signing in 15 minutes! #Emmys #TBT,” with a clip of himself in the Green Acres spoof. Hooterville and the White House were as one.

What is new in the development of antidemocratic politics is that Trump brings all this comic doubleness—the confusion of the real and the performative, of character and caricature—to bear on the authoritarian persona of the caudillo, the duce, the strongman savior. The prototype dictators of the far right may have looked absurd to their critics (“Hitler,” wrote Adorno and Horkheimer, “can gesticulate like a clown, Mussolini risk false notes like a provincial tenor”), but within the community of their followers and the shadow community of their intended victims, their histrionics had to be taken entirely seriously. Trump, on the other hand, retains all his self-aware absurdity even while creating a political persona of immense consequence.

This comic-authoritarian politics has some advantages over the older dictatorial style. It allows a threat to democracy to appear as at worst a tasteless prank: in the 2016 presidential campaign even liberal outlets like The New York Times took Hillary Clinton’s e-mails far more seriously than Trump’s open stirring of hatred against Mexicans and Muslims. Funny-autocratic functions better in a society like that of the US, where the boundaries of acceptable insult are still shifting and mainstream hate-mongering still has to be light on its feet. It allows racial insults and brazen lies to be issued, as it were, in inverted commas. If you don’t see those invisible quotation marks, you are not smart enough—or you are too deeply infected by the woke mind virus—to be in on the joke. You are not part of the laughing community. The importance of not being earnest is that it defines the boundaries of the tribe. The earnest are the enemy.

The extreme right in America was very quick to understand the potency of “only a joke” in the Internet age. In a 2001 study of three hate speech websites sympathetic to the Ku Klux Klan, Michael Billig noted that each of them described itself on its home page as a humorous exercise. The largest, called “N…..jokes KKK ” (the ellipsis is mine) carried the disclaimers: “You agree by entering this site, that this type of joke is legal where you live, and you agree that you recognize this site is meant as a joke not to be taken seriously”; “And you agree that this site is a comedy site, not a real racist site”; “We ARE NOT real life racists.”

What does “real life” even mean when Klansmen are not really racist? The power of this “humorous” mode of discourse lies at least partly in the way it blurs the distinctions between the real and the symbolic, and between words and actions. Consider the example of some of the men tried for their alleged parts in a 2020 plot to kidnap Gretchen Whitmer, the Democratic governor of Michigan. One of them, Barry Croft, insisted at his trial in 2022 that he was joking most of the time when he posted on Facebook questions like “Which governor is going to end up being dragged off and hung for treason first?” Another, Brandon Caserta, was acquitted in 2022 in part because he successfully pleaded that violent statements he made on Facebook and in secretly recorded meetings of the group were not serious. These included claims that the Second Amendment sanctions the killing of “agents of the government when they become tyrannical.” “I may kill dozens of agents but eventually die in the process,” Caserta wrote on Facebook in May 2020. He later posted that he would beat government agents so hard they would “beg til they couldn’t beg any more because their mouth is so full of blood.”

At Croft’s trial, his defense attorney put it to an FBI witness that a meme Croft posted showing thirty bullets as “30 votes that count” was “A little tongue-in-cheek? A little bit funny?” On the second season of Jon Ronson’s superb podcast series for the BBC , Things Fell Apart , Caserta acknowledges that, on the secret recordings, he is heard to urge his fellow militia members that any lawyers advocating for the Covid vaccine be decapitated in their own homes, speaks of “wanting Zionist banker blood,” and advocates blowing up buildings where the vaccine is manufactured. He nonetheless insists to Ronson:

This isn’t something I’m dead serious about. This is nothing I ever planned. It’s funny, dude! It’s funny! It’s fun to blow stuff up. It’s fun to shoot guns. It’s fun to say ridiculous offensive shit. And if it offends you, so what? I don’t care about your feelings and how you feel about words. Sorry!

The twist of logic here is striking: Caserta equates blowing stuff up and shooting people with saying ridiculous offensive shit. Violent words and violent actions are all covered by the same disclaimer—one that Trump’s apologists use to blur the relationship between his words and his followers’ actions in the assault on the Capitol on January 6, 2021. In the Trumpian twilight zone where democracy is dying but not yet dead, the connection between words (“fight like hell”) and deeds (the armed invasion of the Capitol) must be both strong and weak, sufficiently “no joke” to be understood by the faithful yet sufficiently “only a joke” to be deniable to the infidels. The comic mode is what creates the plausible deniability that in turn allows what used to be mainstream Republicans (and some Democrats) to remain in denial about what Trumpism really means.

For those who love Trump, there is something carnivalesque in all of this. In his discussion of “mediaeval laughter” in Rabelais and His World , Mikhail Bakhtin wrote that “one might say that it builds its own world versus the official world, its own church versus the official church, its own state versus the official state.” Bakhtin suggested that the

festive liberation of laughter…was a temporary suspension of the entire official system with all its prohibitions and hierarchic barriers. For a short time life came out of its usual, legalized and consecrated furrows and entered the sphere of utopian freedom.

Trump and many of his followers have made this quite literal. They create their own America, their own republic, their own notions of legality, their own church of the leader’s cult, their own state versus what they see as the official state. In this way, extreme polarization becomes a sphere of utopian freedom.

This is the capacious zone in which Trump’s comedy operates, an arena that admits everyone who gets the joke, from those who fantasize about killing tyrants, decapitating lawyers, and torturing government agents to those who just like to blow off steam by listening to their hero saying stuff that riles the woke enemy. It is crucial that in Trump’s delivery there is no shift from mockery to seriousness, no line between entertainment and violence. His singsong tone is generous and flexible, serving equally well for vaudeville and vituperation. In his streams of consciousness, they flow together as complementary currents.

In the recent speeches in which he has upped the ante on openly fascist rhetoric by characterizing his opponents as “vermin” and accusing immigrants of “poisoning the blood of our country,” it is notable that his cadence is soft, almost lilting. There is no warning to his audience that these comments are of a different order. They are not even applause lines. By underplaying them, Trump leaves open the fundamental question: Is his mimicking of Hitler’s imagery just another impersonation, all of a piece with the way he does Biden and Haley in funny voices or even with the way he sings the theme song from Green Acres ?

Even when Trump actually goes the whole way and acknowledges that his rhetoric is indeed Hitlerian, as he did in a speech in Iowa after the alarmed reaction of liberals to his previous “poisoning the blood” speech, it is in a passage that jumbles together murderous intent, complaint about the media, and comic acting: “They are destroying the blood of our country. That’s what they’re doing…. They don’t like it when I said that. And I never read Mein Kampf .” But he makes the “Kampf” funny, puckering his lips and elongating the “pf” so it sounds like a rude noise. He continues: “They said ‘Oh, Hitler said that.’” Then he adds his defense: “in a much different way.” It is the stand-up comedian’s credo: it’s not the jokes, it’s the way you tell ’em. And this is, indeed, true—the difference is in the way he tells it, in a voice whose ambiguous pitch has been perfected over many years of performance.

The knowingness is all. In the speech in Conway, South Carolina, on February 10, in which he openly encouraged Russia to attack “delinquent” members of NATO , this startling statement, with potential world-historical consequences, was preceded by Trump’s metatheatrical riff on the idea of “fun.” What was fun, he told his followers, was the reaction he could provoke just by saying “Barack Hussein Obama”:

Every time I say it, anytime I want to have a little fun…even though the country is going to hell, we have to have a little bit of fun…. Remember Rush Limbaugh, he’d go “Barack Hooosaynn Obama”—I wonder what he was getting at.

He then segued into another commentary on his own well-honed send-up of Joe Biden: “I do the imitation where Biden can’t find his way off the stage…. So I do the imitation—is this fun?—I say this guy can’t put two sentences together…and then I go ‘Watch!’” (He said the word with a comic pout.) “I’ll imitate him. I go like this: ‘Haw!’” Trump hunches his shoulders and extends his arm, in a parody of Biden’s gestures. In this burlesque, Trump is not just mimicking his opponent; he is explicitly reenacting his own previous mocking impersonation, complete with commentary. He is simultaneously speaking, acting, and speaking about his acting.

It is within this “fun” frame that Trump proceeded to insinuate that there is something awry with Nikki Haley’s marriage: “Where’s her husband? Oh he’s away…. What happened to her husband? What happened to her husband! Where is he? He’s gone. He knew, he knew.” He and presumably many members of the audience were aware that Michael Haley is currently serving in Djibouti with the South Carolina National Guard. But as part of the show, with the funny voices and the exaggerated gestures, that lurid hint at some mysteriously unmentionable scandal (“He knew, he knew”) is somehow amusing. And then so is Trump’s story about telling an unnamed head of a “big” NATO country that the US would not defend it from invasion and—the punch line—that he would “encourage” Russia “to do whatever the hell they want.” Here Trump is acting in both senses, both ostentatiously performing and exerting a real influence on global politics—but which is which? How can we tell the dancer from the dance?

This shuffling in a typical Trump speech of different levels of seriousness—personal grudges beside grave geopolitics, savage venom mixed with knockabout farce, possible truths rubbing up against outrageous lies—creates a force field of incongruities. Between the looming solidity of Trump’s body and the airy, distracted quality of his words, in which weightless notions fly off before they are fully expressed, he seems at once immovable and in manic flux.

Incongruity has long been seen as one of the conditions of comedy. Francis Hutcheson in Reflections Upon Laughter (1725) noted that it is “this contrast or opposition of ideas of dignity and meanness which is the occasion of laughter.” The supposedly dignified idea of “greatness” is vital to Trump’s presence and rhetoric. But it is inextricably intertwined with the mean, the inconsequential, even the infantile. He is at one moment the grandiose man of destiny and the next a naughty child—an incongruity that can be contained only within an organized laughter in which the juxtaposition of incompatibilities is the essence of fun. This is why Trump’s lapses into pure gibberish—like telling a National Rifle Association gathering in Harrisburg, Pennsylvania, on February 9 that the Democrats are planning to “change the name of Pennsylvania” and that, in relation to the marble columns in the hall, it was “incredible how they could [have been built] years ago without the powerful tractors that you have today”—do not make his fans alarmed about his mental acuity. Cognitive dysfunction is not a worry with a man whose métier is cognitive dissonance.

Part of the dissonance is that Trump’s stand-up routine is completely dependent on the idea that he and his audience most despise: political correctness. Like much of the worst of contemporary comedy, Trump both amuses and thrills his audience by telling them that he is saying what he is not allowed to say. “Beautiful women,” he said at the rally in South Carolina after pointing to a group of female superfans in the audience. “You’re not allowed to say that anymore, but I’ll say it…. That usually is the end of a career, but I’ll say it.” There are so many layers to a moment like this: the idea that the woke mob is stopping manly men from complimenting attractive women, a sideways nod toward the “pussygate” tapes that should have ended Trump’s political career but didn’t, a dig at the Me Too movement, a reiteration of Trump’s right to categorize women as “my type” or “not my type,” the power of the leader to lift prohibitions—not just for himself but, in this carnivalesque arena of utopian freedom, for everyone in the audience.

Flirting with the unsayable has long been part of his shtick. If we go all the way back to May 1992 to watch Trump on Letterman’s show, there is a moment when Trump silently mouths the word “shit.” He does this in a way that must have been practiced rather than spontaneous—it takes some skill to form an unspoken word so clearly for a TV audience that everyone immediately understands it. Letterman plays his straight man: “You ain’t that rich, Don, you can’t come on here and say that.” But of course Trump did not “say” it. A sympathetic audience loves a moment like this because it is invited to do the transgressive part in its head. It gets the pleasure of filling in the blank.

Trump’s audiences, in other words, are not passive. This comedy is a joint enterprise of performer and listener. It gives those listeners the opportunity for consent and collusion. Consider a televised speech Trump gave at the Al Smith Dinner, hosted by the Catholic archbishop of New York, Cardinal Timothy Dolan, in October 2016, near the end of the presidential campaign. The dinner, held to raise money for Catholic charities, is traditionally the last occasion on which the two main presidential candidates share a stage—Hillary Clinton was also present. Trump deadpanned that he knew he would have a receptive audience because “so many of you in the archdiocese already have a place in your heart for a guy who started out as a carpenter working for his father. I was a carpenter working for my father. True.”

What is the joke here? That Trump is like Jesus Christ. Imagine if Clinton had attempted an equivalent gag. There would have been outrage and uproar: Clinton has insulted all Christians by making a blasphemous comparison between herself and the divine Savior. But the cameras cut to Dolan, a sycophantic supporter of Trump, and showed him laughing heartily. And if the cardinal found it funny, it was funny. It was thus an in-joke. If Clinton had made it, it would be the ultimate out-joke, proof of the Democrats’ contempt for people of faith.

But what is allowed as funny will sooner or later be proposed seriously. Many of those attending Trump rallies now wear T-shirts that proclaim “Jesus Is My Savior. Trump Is My President.” Some of them illustrate the slogan with a picture of an ethereal Christ laying both his hands on Trump’s shoulders. What begins as a risqué quip ends up as a religious icon. There is no line here between sacrilege and devotion, transgressive humor and religious veneration.

Just as Trump’s jokes can become literal, his ugly realities can be bathed in the soothing balm of laughter. Long before he ran for president, he was indulged on the late-night talk shows as the hilarious huckster. In 1986 Letterman tried repeatedly to get Trump to tell him how much money he had, and when he continually evaded the question, Letterman broke the tension with the laugh-line, “You act like you’re running for something.” In December 2005 Conan O’Brien asked him, “You also have an online school? Is that correct?” Trump replied, “Trump University—if you want to learn how to get rich.” The audience howled with laughter, presumably not because they thought he was kidding but because the very words “Trump University” are innately absurd. When he did that Top Ten List on Letterman in 2009, Trump’s comic financial advice included “For tip number four, simply send me $29.95.”

But these jokes came true. Trump wouldn’t say how much he was worth because his net worth was partly fictional. Trump did run for something. Trump University was an innately funny idea that people took seriously enough to enable Trump to rip them off. And Trump does want you to send him $29.95—the first thing you get on Trump’s official website is an insistent demand: “Donate Today.” This is the thing about Trump’s form of organized laughter, in which the idea of humor obscures the distinction between outlandish words and real-life actions. Sooner or later, the first becomes the second. The in-joke becomes the killer line.

March 21, 2024

Who Should Regulate Online Speech?

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Fintan O’Toole is the Advising Editor at The New York Review and a columnist for The Irish Times. His most recent book, We Don’t Know Ourselves: A Personal History of Modern Ireland , was published in the US last year. (March 2024)

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Guest Essay

Elite College Admissions Have Turned Students Into Brands

By Sarah Bernstein

Ms. Bernstein is a playwright, a writing coach and an essayist in Brooklyn.

“I just can’t think of anything,” my student said.

After 10 years of teaching college essay writing, I was familiar with this reply. For some reason, when you’re asked to recount an important experience from your life, it is common to forget everything that has ever happened to you. It’s a long-form version of the anxiety that takes hold at a corporate retreat when you’re invited to say “one interesting thing about yourself,” and you suddenly believe that you are the most boring person in the entire world. Once during a version of this icebreaker, a man volunteered that he had only one kidney, and I remember feeling incredibly jealous of him.

I tried to jog this student’s memory. What about his love of music? Or his experience learning English? Or that time on a summer camping trip when he and his friends had nearly drowned? “I don’t know,” he sighed. “That all seems kind of cliché.”

Applying to college has always been about standing out. When I teach college essay workshops and coach applicants one on one, I see my role as helping students to capture their voice and their way of processing the world, things that are, by definition, unique to each individual. Still, many of my students (and their parents) worry that as getting into college becomes increasingly competitive, this won’t be enough to set them apart.

Their anxiety is understandable. On Thursday, in a tradition known as “Ivy Day,” all eight Ivy League schools released their regular admission decisions. Top colleges often issue statements about how impressive (and competitive) their applicant pools were this cycle. The intention is to flatter accepted students and assuage rejected ones, but for those who have not yet applied to college, these statements reinforce the fear that there is an ever-expanding cohort of applicants with straight A’s and perfect SATs and harrowing camping trip stories all competing with one another for a vanishingly small number of spots.

This scarcity has led to a boom in the college consulting industry, now estimated to be a $2.9 billion business. In recent years, many of these advisers and companies have begun to promote the idea of personal branding — a way for teenagers to distinguish themselves by becoming as clear and memorable as a good tagline.

While this approach often leads to a strong application, students who brand themselves too early or too definitively risk missing out on the kind of exploration that will prepare them for adult life.

Like a corporate brand, the personal brand is meant to distill everything you stand for (honesty, integrity, high quality, low prices) into a cohesive identity that can be grasped at a glance. On its website, a college prep and advising company called Dallas Admissions explains the benefits of branding this way: “Each person is complex, yet admissions officers only have a small amount of time to spend learning about each prospective student. The smart student boils down key aspects of himself or herself into their personal ‘brand’ and sells that to the college admissions officer.”

Identifying the key aspects of yourself may seem like a lifelong project, but unfortunately, college applicants don’t have that kind of time. Online, there are dozens of lesson plans and seminars promising to walk students through the process of branding themselves in five to 10 easy steps. The majority begin with questions I would have found panic-inducing as a teenager, such as, “What is the story you want people to tell about you when you’re not in the room?”

Where I hoped others would describe me as “normal” or, in my wildest dreams, “cool,” today’s teenagers are expected to leave this exercise with labels like, Committed Athlete and Compassionate Leader or Environmentally Conscious Musician. Once students have a draft of their ideal self, they’re offered instructions for manifesting it (or at least, the appearance of it) in person and online. These range from common-sense tips (not posting illegal activity on social media) to more drastic recommendations (getting different friends).

It’s not just that these courses cut corners on self-discovery; it’s that they get the process backward. A personal brand is effective only if you can support it with action, so instead of finding their passion and values through experience, students are encouraged to select a passion as early as possible and then rack up the experience to substantiate it. Many college consultants suggest beginning to align your activities with your college ambitions by ninth grade, while the National Institute of Certified College Planners recommends students “talk with parents, guardians, and/or an academic adviser to create a clear plan for your education and career-related goals” in junior high.

The idea of a group of middle schoolers soberly mapping out their careers is both comical and depressing, but when I read student essays today, I can see that this advice is getting through. Over the past few years, I have been struck by how many high school seniors already have defined career goals as well as a C.V. of relevant extracurriculars to go with them. This widens the gap between wealthy students and those who lack the resources to secure a fancy research gig or start their own small business. (A shocking number of college applicants claim to have started a small business.) It also puts pressure on all students to define themselves at a moment when they are anxious to fit in and yet changing all the time.

In the world of branding, a word that appears again and again is “consistency.” If you are Charmin, that makes sense. People opening a roll of toilet paper do not want to be surprised. If you are a teenage human being, however, that is an unreasonable expectation. Changing one’s interests, opinions and presentation is a natural part of adolescence and an instructive one. I find that my students with scattershot résumés are often the most confident. They’re not afraid to push back against suggestions that ring false and will insist on revising their essay until it actually “feels like me.” On the other hand, many of my most accomplished students are so quick to accept feedback that I am wary of offering it, lest I become one more adult trying to shape them into an admission-worthy ideal.

I understand that for parents, prioritizing exploration can feel like a risky bet. Self-insight is hard to quantify and to communicate in a college application. When it comes to building a life, however, this kind of knowledge has more value than any accolade, and it cannot be generated through a brainstorming exercise in a six-step personal branding course online. To equip kids for the world, we need to provide them not just with opportunities for achievement, but with opportunities to fail, to learn, to wander and to change their minds.

In some ways, the college essay is a microcosm of modern adolescence. Depending on how you look at it, it’s either a forum for self-discovery or a high-stakes test you need to ace. I try to assure my students that it is the former. I tell them that it’s a chance to take stock of everything you’ve experienced and learned over the past 18 years and everything you have to offer as a result.

That can be a profound process. But to embark on it, students have to believe that colleges really want to see the person behind the brand. And they have to have the chance to know who that person is.

Sarah Bernstein is a playwright, a writing coach and an essayist.

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