How to write a bomb ass personal statement

I’ve had a few asks about how to write - as one of you put it - a bomb ass personal statement. I’m a bit reluctant to write this, seeing as I haven’t actually got an interview/offer yet! But I guess it might be helpful to those of you applying around now :)


  • Bullet point what you want to include - I suggest listing out what you want to include. It’s a good idea to do this at the beginning, to make sure you don’t leave anything out; and it can help form the basic structure of your statement.
  • Do not start at the start - this is one of the most important things I learnt when writing mine. It is so hard to write that first sentence - so just leave it until the end, and begin writing with the actual content, something you’re more comfortable writing about.
  • When you do get down to writing that first sentence - do not start with a cheesy quote or the typical “I have always bee passionate about…” as these are things that can immediately put off an admissions tutor. Try and be original, or just simple: “I want to study X because…”


  • Just keep writing - don’t worry about the 4,000 character and 47 line limits. Literally just write, and keep going, even if you think what you’re writing is bad - just get all your ideas out there, and put down everything you would want to include. It’s so much easier to take things out rather than adding things in. My personal statement was around 8,000 characters at one point!`
  • Get the balance right - different unis want different things from personal statements, so check their websites to make sure you’re getting in what they want. You need to get the balance of intellectual curiosity/passion for the subject with your personal qualities and extra-curriculars. 
  • Back up everything with evidence - don’t just say you are great at working in a team, give examples that demonstrate that you have worked well in successful teams in the past.What to include?


  • Why you want to study that particular course
  • Why you are the right person to study the course
  • Extra things you have done to show commitment or interest about the course - volunteering, subscriptions to journals, further reading etc.
  • Any relevant work experience
  • Any relevant awards you’ve won (e.g. maths challenge or physics olympiad) or responsibilities within the school (e.g. prefect or house captain)
  • Demonstrate desirable skills for your course - problem solving, teamwork, leadership etc.


  • Cliches - like “Ever since I was born I have wanted to study…”
  • Quotes - this is a personal statement, so don’t start quoting other people! Plus way too many people do this to make it original.
  • Jokes - it may be that the person reading your statement has a very different sense of humour than you do.
  • Really long sentences - you want your personal statement to be as easy as possible to read, and long confusing sentences won’t help that.
  • Repetition - it’s such a short document, you don’t have space for this. Plus it gets boring!
  • Names of unis - the unis you apply to have no idea where else you have applied, so don’t name any of them in your statement.


  • Do not end on a cheesy quote or joke. Just sum up why you’d be a great candidate and reinforce what you have told them throughout the main body of the statement - that you’re fabulous!
  • Once you have finished a draft you can start trying to cut down on the word count. Maybe ask a teacher to look at your spelling/grammar, and you can always get your friends’ opinions too, on what should come out, and what should be kept in. Make sure you don’t let other people have too much influence - it has to be a personal statement!
“The Basics”

The basic structure of the sortinghatchats system is that you aren’t just sorted into one House, but into two tiers of Houses: Primary and Secondary. Your Primary House defines WHY you do things. Your Secondary defines HOW. To build this system, we’ve drawn on the Sorting Hat’s songs, general HP canon, extracanonical data (ex. interviews with JKR)… and then extrapolated.

People are complex– for joy or for utility, due to social pressure or careless recreation, people often use the reasoning or methods of Houses that aren’t their Primary or Secondary. We call this “modelling” or “performing” a house and we will explain it in greater detail later. These additional layers help us capture some complexities in characters that we couldn’t get using Primary and Secondary alone. People can vary hugely in how they embody their Houses; in this system, Aang, the heroic pacifist protagonist from Avatar the Last Airbender, shares most of his Houses with HP’s Lord Voldemort.

The way you decide which Houses are yours is not necessarily by looking at what you do, but at what would make you proudest and most content if you were strong enough to do it. Your sorting is what you want to be and what you believe you should do, whether or not you actually live up to it. That’s how people like Peter Pettigrew can end up in Gryffindor.


Your Primary is your why. It’s your motivations, your values, and the way you frame the world around you. It’s how and what you prioritize, and what you weigh most heavily when making your decisions. People often also assume that others share those priorities. A common response to our system is “but you must oversort into Gryffindor/Slytherin/Ravenclaw/Hufflepuff–everyone has that type of morality, deep down!”

Gryffindor Primaries trust their moral intuitions and have a need and a drive to live by them. They feel what’s right in their gut, and that matters and guides them. If they don’t listen to and act on that, it feels immoral.

We call Gryffindor morality “felt” but that doesn’t mean they’re all impetuous, emotional hellions. Gryffindors can still be intelligent, deliberate creatures who weigh their decisions and moralities carefully. Reasoning, intellectualizing and debate can be support for a Gryffindor’s felt morality– but those things can never make a fully satisfying morality in themselves. Some things are just wrong, no matter what pretty words you use to explain them.

Ravenclaw Primaries have a constructed system that they test their decisions against before they feel comfortable calling something right. This system might be constructed by them, or it might have been taught to them as children, or it might have been discovered by them some point later in life. But it gives them a way to frame the world and a confidence in their ability to interact with it morally.

Ravenclaws do not lack an intuitive sense of morality or gut feeling about things, but they distrust those instincts and have a need to ignore or to dig down deep and dissect those internal moral impulses. Living within their built moral system is as important to a Ravenclaw as to a Gryffindor; it’s the source of the morality that differs between them–what they trust.

Hufflepuff Primaries value people–all people. They value community, they bond to groups (rather than solely individuals), and they make their decisions off of who is in the most need and who is the most vulnerable and who they can help. They value fairness because every person is a person and feel best when they give everyone that fair chance. Even directly wronged, a Hufflepuff will often give someone a second (or fifth) chance.

This doesn’t mean all Hufflepuffs are inherently tolerant human beings, any more than all Gryffindors are inherently good, moral creatures. Hufflepuffs tend to believe that all people deserve some type of kindness, decency, or consideration from them–but they can define “person” however they want, excluding individuals or even whole groups.

Slytherin Primaries are fiercely loyal to the people they care for most. Slytherin is the place where “you’ll make your real friends”– they prioritize individual loyalties and find their moral core in protecting and caring for the people they are closest to.

Slytherin’s reputation for ambition comes from the visibility of this promotion of the self and their important people– ambition is something you can find in all four Houses; Slytherin’s is just the one that looks most obviously selfish.

Because their morality system of “me and mine first” is fairly narrow in scope, Slytherins often construct a secondary morality system to deal with situations that are not addressed by their loyalty system.


Your Secondary is your how. It’s how you approach the world as a person interacting with it, and how you make your way. It’s how you problem-solve. It’s not necessarily what you’re best at, or even what’s the most useful to you, but about what skills and methods you value as being intrinsic to you. Do you improvise, do you plan? Do you work on something a little bit every day? Do you charge into the fray and tell people exactly what’s on your mind? What do you do? How would you describe the way you meet the world?

Note: the term “Secondary” is not meant to imply that how you do things is any less important than why (the Primary House). It’s simply the way our terminology fell out and we’re too lazy to change it. The importance of motivations v. methods is a personal sliding scale– it’s perfectly valid for a person to identify with their Secondary House over their Primary. (When drawing from canonical sources, we assumed each character likely was in a House that matched to either their Primary or their Secondary. For instance, Harry is in Gryffindor for his heroic Gryffindor Primary, but Ginny Weasley is there for her brash and bold Gryffindor Secondary.)

Gryffindor Secondaries charge. They meet the world head-on and challenge it to do its worst. Gryffindor Secondaries are honest, brash, and bold in pursuit of things they care about. Known for their bravery, it is almost a moral matter to stay true to themselves in any situation that they’re in.

Ravenclaw Secondaries plan. They collect information, they strategize. They have tools. They run hypotheticals and try to plan ahead for things that might come up. They build things (of varying degrees of practicality and actual usefulness) that they can use later– whether that’s an emergency supply pack, a vast knowledge of Renaissance artistic techniques and supplies, or a series of lists and contingency plans. They feel less at home in improvisation and more comfortable planning ahead and taking the time to be prepared.

Hufflepuff Secondaries toil. Their strength comes from their consistency and the integrity of their method. They’re our hard workers. They build habits and systems for themselves and accomplish things by keeping at them. They have a steadiness that can make them the lynchpin (though not usually the leader) of a community. While stereotyped as liking people and being kind (and this version is perhaps a common reality), a Hufflepuff secondary can also easily be a caustic, introverted misanthrope who runs on hard work alone.

Slytherin Secondaries improvise. They are the most adaptive secondary, finding their strength in responding quickly to whatever a situation throws at them. They improvise differently than the Gryffindor Secondary, far more likely to try coming at situations from different angles than to try strong-arming them. They might describe themselves as having different “faces” for different people and different situations, dropping them and being just themselves only when they’re relaxing or feel safe.

But the Journey Continues…

These four basic Primary and Secondary houses are summarized starting places that we use as a basis for further discussion. What are some ways this gets complicated?

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Science and Witchcraft are not enemies
  • A scientist will tell you that our cells are powered by combustion reactions. Combustion is just another word for the reactions involved in Fire.
  • A scientist will explain that your blood is the same salinity as the oceans were 3.6 billion years ago, when living creatures first incorporated circulated Water into their basic structure - the precursors of blood.
  • A scientist might teach you about the millions of tiny chambers in our lungs called alveolar sacs that inflate and deflate every time we breathe, allowing our blood to mix with Air to feed our cells.
  • A scientist could tell you about the many minerals and metals that make up our bodies, from the metal in our bones to the phosphorus in our DNA, constructing our bodies out of Earth.

Our bodies are made of Earth, Air, Fire, Water and Spirit - the Elements of Magick

They’re also made of carbon, hydrogen, nitrogen, oxygen, phosphorous, sulphur, iron, chlorine, potassium, sodium, and a million other elements and compounds - the Elements of Science

The Elements of Science and the Elements of Magick are not mutually exclusive. 

Science and Witchcraft are not mutually exclusive.

You can be a scientifically-minded Witch, or a Witchcraft-practicing scientist, or anything in between. Your magick does not have to conflict with your science, and your Elements of Magick can be the same as your Elements of Science. 

Illuminate the worlds of science and Witchery with your knowledge and your light. Let yourself shine, a beacon of bright knowledge and wisdom in the night of ignorance and fear.

– Juniper WildWalk

Antimicrobial Agents  - Cell wall inhibitors

Based on mode of action • divided into families based on chemical structure

 Modes of action Interference with: 

  • cell wall synthesis 
  • protein synthesis 
  • nucleic acid synthesis 
  • plasma membrane integrity 
  • metabolic pathway 

Inhibitors of Bacterial Cell Wall (peptidoglycan) Synthesis 

  • The Beta-lactam Family 
  • The Glycopeptides 

Peptidoglycan is composed of N-acetylglucosamine (NAG) and N-acetylmuramic acid (NAM) repeat units, and amino acids.  Each NAM is linked to peptide chain and the peptide chains are cross-linked.


  • Includes penicillin derivatives (penams), cephalosporins (cephems), monobactams, and carbapenems.
  • class of broad-spectrum antibiotics containing a β-lactam ring
  • Bacterial transpeptidase enzymes are responsible for catalysing cross-linking of the peptide chains
  • β-lactam ring bind to these transpeptidases – this inhibits cross-linking between peptide chains and prevents synthesis of stable PG
  • Cell wall synthesis ceases and the bacterial cells eventually die due to osmotic instability or autolysis. 


Polypeptide agents - basic structural elements amino acids 


  • complexes with peptide portion of peptidoglycan’s precursor units 
  • vancomycin is a large hydrophilic molecule able to form hydrogen bonds with the terminal D-alanyl-D-alanine moieties of the NAM/NAG-peptides
  • preventing PG transglycosylation reaction – PG precursor subunits (NAG-NAM+peptide) cannot be inserted into peptidoglycan matrix;
  • Vancomycin also alters bacterial-cell-membrane permeability and RNA synthesis

Uses:  serious Gram positive infections e.g. MRSA wound infection

Adverse effects:

  • damage to auditory nerve 
  • hearing loss (ototoxicity) 
  • “Red man/neck” syndrome - rash on face, neck, upper torso 

Four Acts in Fourteen Cards: A Tarot Spread for Writers

I’ve been drafting and writing a lot of stuff using a four-act structure recently, basically what’s used for most serial TV shows (procedurals, monster-of-the-week shows, sitcoms, etc.,) and I’ve found I really enjoy it; the structure makes for a fast pace and plenty of action, with character growth feeding off of and influencing the events. In preparing for NaNoWriMo, I outlined a series of short stories, which I intend to link together like “episodes” into a overarching “season”. The tricky bit is keeping each episode exciting, meaningful, and distinctive despite the formula.

Enter, tarot. If you’ve looked into tarot cards before, you probably know that they’re a wellspring of ideas and inspiration. I don’t use tarot religiously or spiritually, but I own a few decks for self-reflection and, of course, writing. I drafted this spread idea for NaNo, tested it out, and was quite pleased with the results I got: a start-to-finish story outline that feels satisfying and distinct from my other outlined episodes, done in under half an hour.

I’m recording this spread here for my own later reference, and for any other writers who might find it useful. Please feel free to dissect and remix this idea: play around and use whatever parts are helpful to your process :)

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Mini Japanese Grammar Lesson~

Today we’ll learn to express the existence of something (inanimate object). Basically it’s how to say “There is/are” in English :D

This is one of the most basic structure in Japanese~ For animate object such as people, we use iru/imasu and inai/imasen

Happy learning! 。゚✶ฺ.ヽ(*´∀`*)ノ.✶゚ฺ。

papyrus gradually becoming more of a pussy destroyer

also for some reason Every Single Time i draw Pap i get suspicious about Sans’ size??

i just think “theres no fuckin way hes up to his chest thats too small i have to See it to Believe it”

so heres the size comparison i draw every single time

Absolute Towers

Thank you for your inspiring blog! Thank you for sharing your knowledge :) I wanted to ask your opinion about The Marilyn Monroe condos in Mississauga-Ontario. I honestly find them lacking. There is something missing in the concept. Thank you in advance for your input.

Absolute Towers (nicknamed as “Marilyn Monroe Towers” by the locals for the sinuous shape) by MAD architects is a residential condominiums twin tower skyscraper complex in the five tower Absolute City Centre development in Mississauga, Ontario, Canada. The project design was chosen by a competition. Submissions were judged by a panel which included architects, civic leaders and the development team members.

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Ramones songs were basically structured the same as regular songs, but played fast, so they became short. When I saw the Beatles at Shea Stadium in 1965, they played a half-hour show. I figured that if the Beatles played a half hour at Shea Stadium, the Ramones should only do about fifteen minutes. So in the beginning, we kept the set at about fifteen minutes. I’d based it on that. I’ve always thought you’re better off playing shorter. You get in your best material and leave them wanting more. I don’t think anyone, even big bands, should play for more than an hour.

Happy Birthday Johnny Ramone (October 8, 1948 – September 15, 2004), pictured during the Rocket to Russia Tour, by Roberta Bayley, 1977

This is the second part to learning about the basic sentence structure in Korean, so if you haven’t read Part 1, you can find it here

So the main focus in this post is on particles and spacing. 

So the particles used in Korean are:

이 / 가 - This is a subject particle which is used to introduce a new subject 

은 / 는 - Also a subject particle which is used to continue speaking about the current subject being discussed

을 / 를 - An object particle which is used with all objects

에 / 에서 - This is used after an adverbial

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Buffy Summers - Hogwarts Sorting

Discovering @sortinghatchats literally changed my HP-loving world. It’s so much fun to sort characters from other fandoms into houses, but this takes it to a whole different level. For those who aren’t familiar with sortinghatchats, the premise of the system is this:

“The basic structure of the sortinghatchats system is that you aren’t just sorted into one House, but into two tiers of Houses: Primary and Secondary. Your Primary House defines WHY you do things. Your Secondary defines HOW.”

You can read more about it here.

As a BtVS fanatic, I wanted to go through those characters using this system. I’m starting with Buffy, because - duh.

Buffy is definitely a Gryffindor Primary. She trusts her gut to tell her what’s right and wrong, and that’s the driving force behind her decisions. At first glance, she looks a little like a Hufflepuff - after all, she saves a lot of people, and that’s clearly a focus for her. It’s most notable throughout season five when she refuses to sacrifice Dawn and ultimately dies to save her, but there are examples throughout the series, starting with her conversation with Angel just before she tried to rescue Jesse and ending with her continued defense of Spike throughout season seven.

But ultimately, she proved multiple times that no matter how much she loves someone, it doesn’t override her moral code. She’s self-sacrificing, but when the choice is between what’s right and someone she cares about, she always goes with what’s right. She’s devastated about killing Angel at the end of season two and struggles with it throughout the third season, but she never regrets it. She’s haunted by it because it hurt her, not because she questions it. And despite her efforts to protect Dawn in season five (including dying for her), she acknowledges in season seven that if she had to let her sister die to save the world, she would.

She’s a Gryffindor Secondary, too. She meets problems head-on, and while she’s certainly resourceful, she improvises to meet her goals in the most straightforward way possible. She’s not trying to find cracks to exploit like a Slytherin (the other improvisational house) might, and when she does change her approach to suit the audience, it feels wrong to her. A Slytherin Secondary doesn’t see anything wrong with changing tactics based on the situation. Buffy clearly does, and it usually eats her up inside.

She’s also a born leader. That’s not just a Slayer thing - characters throughout the series explicitly remark on how unusual it is to have a Slayer with such a big group of people who both know her secret and actively support her. While some of them do either have or develop connections to that world independently of her, most of them join the Scoobies because they want to, not because they have to. And, while her relationships with both Angel and Spike range from a little warped to downright toxic depending on the season, that tendency is true of them as well; she pulls Angel out of the depression he’d been in since getting his soul back, and love for her causes an unsouled Spike to turn his back on his sire after more than a century of devotion, not break under torture to protect her sister, and ultimately even seek out a way to win his soul back. Buffy inspires people without really meaning to, and they’ll follow her into hell because of it.

To summarize: Buffy is a Gryffindor Primary who will do what’s right even when she knows that it will destroy her afterward, and she uses her Gryffindor Secondary to face the problems head-on and to lead a consistent core group of people through fire and back.

Anonymous asked:

I’m writing a story and my brother says he feels like it’s mostly build up and the pace is too steady. Is this a problem, and if so, how would I fix the pacing?

Do some research on basic story structure to make sure you’re hitting all the usual points in a story. Generally speaking, you’ll have:

1) Introduction (setting the scene)

2) Inciting Incident (what sets off the story’s events)

3) Rising Action (series of events/obstacles as character struggles toward goal)

4) Climax (main problem is solved)

5) Falling Action (loose ends are tied up)

6) End 

Although story structure can be flexible, and you don’t have to stick to any particular structure specifically, it’s good to hit these particular points in your story, as it keeps the story from being nothing but build-up.

As far as pacing goes, do a scene list, and next to each scene, write whether the scene is fast or slow paced. Scenes with a lot of action, punchy dialogue, or drama tend to be faster paced. Scenes that are heavy with exposition, introspection, or slower paced dialogue tend to be slower paced. Once you have your scene list written, and have the pace next to each scene, pay attention to the pattern that emerges. Do you have a pretty even flow of fast to slow to fast paced scenes? Or do you have several scenes that are slow paced chunked together? Ideally, you want an even mix. You don’t have to go fast/slow/fast/slow/fast/slow, but it’s always good to follow that pattern to some degree, even if that means something like fast/fast/slow/fast/slow/slow/fast, or something along those lines. Following a slow paced scene with a fast paced scene wakes your readers up, while a slow paced scene after a fast one gives your readers a chance to catch their breath. :)

Have a writing question? I’d love to hear from you! Please be sure to read my ask rules and master list first or your question will not be answered. :)

Listen I know making fun of the way tr/ump talks is fun but maybe don’t group up everyone that talks in a similar way because of communication disorders (or any other disorder that affects communication/speech) and make fun of them for something they really can’t help

anonymous asked:

One thing I love about SCP is how the basic structure of the documents creates literary hooks. The containment procedures are so strange and specific, but don't tell you what the object itself is, which makes you keep reading to get to the description. And the whole thing is cool too, so yeah

T h i s -Roth



You stared at Hank with a raised eyebrow as he rambled on about neural transmission. How you asking if he wanted any lunch turned into him ranting, you have no clue. “So basically,” He continued, “Neurons are filled with a fluid called cytoplasm which suspends the nucleus and other basic cell structures made of folded membranes that are full of Ribonucleic Acid which is not to be confused with Deoxyribonucleic acid.”

You opened your mouth to try and get the conversation back on track, thinking he was done but boy were you wrong. “Now you might be wondering what Ribonucleic Acid is for. Well, it regulates the synthesis of proteins and other substances that maintain-” Without another word falling from his mouth, you slammed your lips against his. You felt him jump in surprise before quickly responding, gently resting his hands on your back, gripping your top tightly in his fists.

You pulled away, leaving Hank to chase your lips for a moment before snapping upright, a bright blush dusting his cheeks. “Was I talking too much?”

“Just a little,” You teased and he grinned at you.

~ Clara

The Aztec calendar is the calendar system that was used by the Aztecs as well as other Pre-Columbian peoples of central Mexico. It is one of the Mesoamerican calendars, sharing the basic structure of calendars from throughout ancient Mesoamerica.

The calendar consisted of a 365-day calendar cycle called xiuhpohualli (year count) and a 260-day ritual cycle called tonalpohualli (day count). These two cycles together formed a 52-year “century,” sometimes called the “calendar round”. The xiuhpohualli is considered to be the agricultural calendar, since it is based on the sun, and the tonalpohualli is considered to be the sacred calendar.

The calendric year may have begun at some point in the distant past with the first appearance of the Pleiades (Tianquiztli) asterism in the east immediately before the dawn light. But due to the precession of the Earth’s axis, it fell out of favor to a more constant reference point such as a solstice or equinox. Early Spanish chroniclers recorded it being celebrated in proximity with the Spring equinox.