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College Essay on My Goals in Life

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Published: Mar 13, 2024

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How to Write an Essay About My Goal: A Comprehensive Guide

In the ever-evolving journey of life, setting clear objectives and ambitions is crucial. Whether these goals are short-term or stretch into the far reaches of our future, they act as guiding lights in our journey. This guide will assist you in articulating and expressing these ambitions effectively, especially when it comes to writing them down.

Understanding the Importance of Goal Setting

Setting life goals is a combination of introspection and foresight. It demands an understanding of one's current standing and a clear vision for the future. By penning down your goals, you not only provide yourself a clear road map but also make a commitment to yourself to achieve them.

How To Write An Essay About My Life Goals

• Introduction : Initiate with an engaging hook—be it a quote, question, or anecdote—that aligns with your goal.
• State your main goal : Elucidate on what your primary life objective is. Be it professional success, personal achievement, or societal contribution, clarify your aim.
• The 'Why' behind the goal : Delve into your motivations. Discuss the driving forces behind this ambition.
• Steps to achieve : Provide a roadmap. Enumerate the steps you'd undertake to transform this goal into a reality.
• Potential Challenges : Highlight potential obstacles and your strategies to navigate them.
• Conclusion : Summarize and re-emphasize your dedication towards your objective.

Career Goal Essay Definition

It's essential to differentiate between life goals and career goals. While the former encompasses broader objectives, a career goal essay underscores your professional aspirations, detailing why they matter and how you plan to attain them.

How Long is a Professional Goal Statement?

A professional goal statement's length can vary but should be concise. Ranging typically from 500 to 1000 words, it should capture your aspirations succinctly. Always adhere to specific guidelines if provided.

What to Avoid While Writing Your Career Goal Essay

• Ambiguity: Always be specific. • Unsubstantiated lofty goals: Your ambitions should be grounded in reality. • Neglecting personal growth: Showcase how your past has shaped your future. • Reiteration: Stay succinct and steer clear of repetition.

My Future Goals Essay: 12 Models

• Entrepreneurial Aspirations : Launching a sustainable fashion startup by 2030.
• Technological Goals : Developing an AI-driven community healthcare system.
• Educational Objectives : Attaining a Ph.D. in Quantum Physics.
• Artistic Pursuits : Holding a solo art exhibition in a renowned gallery.
• Societal Contributions : Establishing a foundation for underprivileged children's education.
• Scientific Aspirations : Contributing to renewable energy research.
• Medical Goals : Becoming a pediatric surgeon and researching rare childhood diseases.
• Travel Objectives : Visiting every UNESCO World Heritage site.
• Sports Ambitions : Completing an Ironman Triathlon.
• Literary Goals : Publishing a trilogy of fantasy novels.
• Environmental Aims : Pioneering a city-wide recycling initiative.
• Leadership Aspirations : Becoming the CEO of a Fortune 500 company.

Articulating one's life and career goals requires introspection, clarity, and foresight. This guide offers a structured blueprint to ensure your essay not only adheres to academic standards but genuinely resonates with your aspirations and dreams. Whether you're grappling with questions like "what should I write in my college essay?" or "how to draft a goal statement?", this guide is here to light the way.

Frequently Asked Questions

• What is the ideal structure for a future career essay? Start with an engaging introduction about your aspirations. In the body, detail the steps you plan to take, experiences that have guided you, and why you chose this career. End with a conclusion summarizing your determination and future vision.
• How do I ensure my career goals essay stands out? Incorporate personal stories or experiences that shaped your goals. Be specific about your aspirations and how you plan to achieve them.
• How can I relate my past experiences to my future career in the essay? Highlight skills, lessons, or challenges from your past and demonstrate how they have directed or prepared you for your future career.
• What should I avoid when writing an essay about my career goals? Avoid being too vague about your goals. Steer clear of clichés, and ensure your goals are realistic and grounded.
• How long should my essay about my goal be? This depends on the requirement. Usually, personal statements are between 500-700 words. Always adhere to the specified word limit.
• Can I include short-term and long-term goals in my essay? Absolutely! Detailing both shows planning and vision. Highlight how short-term goals will pave the way for long-term objectives.
• How do I conclude my essay about my goals effectively? Reiterate your dedication to these goals, reflect on the journey ahead, and end with a note of optimism and determination.

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A moment that changed me: I thought fitness was my superpower. Then I realised it was a ball and chain

Running had been my identity, my career, my life. One beautiful spring day, I realised it wasn’t enough

I have Jane Fonda to thank for my fitness “discovery” in the late 1980s. Still in my teens, I wore through the carpet doing her workout videos in front of the TV. I also spent hours ploughing up and down the pool at the local leisure centre and honing my muscles at the gym.

I always regarded fitness as my superpower. Something that I worked hard at, for sure, but something that gave me kudos. Keeping fit – I mean, really fit – seemed to me an admirable and noble pursuit. I could fit into nice clothes easily. I could push my body and trust it not to fail. Whatever other qualities I didn’t possess, whatever I wasn’t good enough at, I could walk into a gym or toe a start line for a race and pass muster.

I trained to be a personal trainer, so I could guide others to their “fitness goals”. But it was running that really got me, quickly becoming part of my identity. I ran my first marathon aged 22 – and went on to become a coach, write books about running and host running retreats.

Running may look like freedom, but it can also be about control. Distances must be covered, paces maintained, pounds shed, personal bests (PBs) bettered. I now see that latching on to the pursuit of fitness so young was a way of imposing control on my body, of searching for approval and bringing order to my unravelling family life. It worked, too. But it also became a habit.

Like a magic suit, a fit body protects you from others’ scorn, as well as worries about the usual concerns of ageing, such as weight gain and failing health. But it takes time, energy and discipline to achieve and maintain such a body, requiring rules and restraint that can be life-limiting and reek of patriarchal control.

I was in thrall to fitness for three decades. But, when lockdown happened, when gyms, athletics tracks, swimming pools and running clubs closed, when sporting events were cancelled, when I was limited to solitary runs, a feeling crept over me. What was it all for?

One day, in that endlessly glorious spring, I was running along the riverbank. Running had begun to feel joyless and unusually laboured. That point, a few miles in, when you can step aside from the physicality of the endeavour and just let it happen was proving elusive. I was present, every jarring, heavy-footed step of the way, my cadence spelling out what for, what for, what for? I tried to push through it – until, suddenly, neither my body nor my brain could find a reason to carry on. I slowed to a walk. I stopped my watch. I sat down and had a little cry, the sweat drying on my back. Then I walked home.

It wasn’t a one-off. While I continued to go through the motions, my dedication to fitness felt increasingly hollow. And, frankly, shallow. As Sarah Donaghy said, when I interviewed her about Food Bank Run : “Running can be a solitary – even selfish – endeavour, with its focus on individual performance and PBs.”

While I struggled on throughout that summer, squeezing myself into running like a garment that no longer fitted, I began to regard it as a ball and chain, a drain on my resources. This was a big inconvenience for someone whose career was largely built around running.

Eventually, I could no longer ignore the questions my body and mind were raising. My search for answers led me to reconsider not just my attitude to my body and to running, but to life itself. To finding meaning and purpose, to achievement and ageing and to that ultimate finish line, mortality.

Ageing, without doubt, played its part in this shift. I turned 50 in 2019, and I was beginning to realise that the absence of new PBs wasn’t some kind of temporary blip – it was terminal. Try as you might, you cannot compete with the 30-year-old you, or the 40-year-old you. If running is no longer about improvement, achievement, what can it be, I wondered. What am I getting out of it? What am I putting in? Is there something else I should be doing instead?

For many, this is the point where age grading comes to the fore – many people get great pleasure from being “good for your age”. A part of me has great admiration for the 80- to 90-year-olds training for Masters competitions and pursuing every possible marginal gain. But, as the planet and its human and non-human inhabitants face climate breakdown and all the injustice, inequality, exploitation and loss that comes with it, I can’t help wondering if all that energy could be put to better use.

I stopped running altogether for a while, and was appalled when I could no longer fit into some of my clothes. The shame of my expanding, softening body almost lured me back in, but, once again, my body rebelled, voting, quite literally, with its feet. “ Don’t want to slip back into being governed by running ,” I wrote in my diary. “Do you really want to be the same person you were a year ago, five years ago, instead of moving forward?”

Four years on, I am less fit than I was. I cannot assume the same protective benefits of fitness on my health. I can’t automatically pick up size 10 garments, nor assume that I can do parkrun in under 22 minutes. Not being able to do these things any longer feels uncomfortable – as uncomfortable as having a visible tummy. But there are benefits, too. All that energy I poured into fitness for three decades is mine again. I think more, I notice more, I write more, I have wider interests. I finished a part-time MA last year, and I volunteer in conservation work. I am more aware of the world around me, good and bad.

In his essay How to Live With Dying , the philosopher and lifelong avid runner John Kaag writes how a cardiac arrest, minutes after finishing a punishing treadmill run, changed his perspective on life. “At a certain point, going the extra mile does not make you a better athlete. It just makes you an idiot,” he says.

There’s still the odd pang for my old fitness level, my former body – and even for the rigours of the pursuit itself. But, whatever I may have lost, I’ve gained so much more. “In the end,” writes Kaag, “most of us wish we’d spent less time on the treadmill, whatever form it might take.”

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The Wartime Music of Debussy and Komitas, Still Resonating Today

Kirill Gerstein’s immense recording project “Music in Time of War” surveys works by artists who witnessed World War I and the Armenian genocide.

By Hugh Morris

Kirill Gerstein, a Soviet-born pianist whose parents sold their only proper asset — a garage — so that they could afford plane tickets to the United States for their son’s education, approaches music in a way that recalls something his countryman, the conductor Kirill Petrenko, once told him : “I sacrificed so much in my life to not do things by default.”

The career of Gerstein, 44, is filled with moments that defy a belief in doing things “by default.” There was the time when he devoted a significant portion of his $300,000 Gilmore Artist Award to commissioning new piano music from composers across jazz and classical music, placing Chick Corea and Brad Mehldau alongside Oliver Knussen and Alexander Goehr. Or there was the time, in 2017, when Gerstein championed a new , shockingly modest critical edition of Tchaikovsky’s Piano Concerto No. 1 rather than the grandiose, more recognizable version. Or when, as many streamed performances during the pandemic, he instead organized a series of free, online seminars that featured musicians alongside luminaries from the wider arts scene.

Now comes Gerstein’s latest project, “Music in Time of War,” a recording that is expansive in its program and packaging: a 141-minute double album of works by Claude Debussy and the Armenian composer and ethnomusicologist Komitas Vardapet, accompanied by a 174-page book of conversations, essays and photographs that situate the music deep in its historical context.

The album — which beyond solo piano pieces also includes works for piano and soprano (with Ruzan Mantashyan), and piano duo (with Katia Skanavi and Thomas Adès) — was released in mid-April. Its timing came at a poignant midpoint for both composers: March 25, the anniversary of Debussy’s death, and April 24, the date Armenia commemorates as the beginning of the 1915 genocide in which up to 1.5 million Armenians were killed by the Ottoman Empire. That led to post-traumatic stress disorder for Komitas, who while living in Constantinople (now Istanbul) was deported to Anatolia and brutalized by a guard before being released, then eventually suffered a nervous breakdown.

What began as a goal in Gerstein’s “self-development program” — to record Debussy’s Études (1915) — quickly accumulated connections owing to the collection’s composition during one of history’s darkest moments. “Our understanding of a piece of music cannot be divorced from the historical and cultural setting in which it was created and received,” Gerstein, who lives in Berlin, writes in the foreword for his new album’s book.

During the early days of the pandemic, as Gerstein thought more about Debussy’s final years, he also revisited a pile of scanned piano music by Komitas (1869-1935) that he had received from an enthusiastic member of the French-Armenian diaspora 20 years earlier. A pairing of late Debussy and late Komitas made for an intriguing fit: They were two composers who, for a brief time before World War I, existed in the same Parisian orbit and channel the darkened spirit of the age in their art.

It’s not as simple, though, as “in dark times, we write dark music,” said Gerstein, alluding to a Bertolt Brecht quote. The “Armenian Dances,” Komitas’s final work before composing became unbearable, have plenty of Baroque-like pep, and Gerstein’s album also includes “Les Soirs Illuminés par l’Ardeur du Charbon,” Debussy’s final piano solo, which contains a bit of irony. (Translated as “Evenings Lit by Glowing Coals,” the piece was a gift to Debussy’s coal merchant after a cherished delivery during the war.)

“Music in Time of War” also recalls contemporary gestures of artistic solidarity during conflicts in Ukraine and the Middle East. On April 9, 1916, a benefit concert for Armenia was organized in the Grand Amphithéâtre at the Sorbonne in Paris. The program, which is reprinted in the album’s book, included Debussy’s “Noël des enfants qui n’ont plus de maison” before Komitas’s “Antuni.” Both works are tethered firmly to their moment yet concern the physical and mental devastation of homelessness, and the innocence of youth amid conflict. History has shown how timeless those subjects remain.

KOMITAS, born Soghomon Soghomonyan, was brought up in a seminary near Yerevan after losing his mother and father at an early age. (The names “Komitas” and “Vardapet” were bestowed upon him later.) He emerged as a talented composer for voice, choir and piano despite protestations from the clergy. But, as he later spent time in Berlin and Paris, his most important contribution to Armenian music was as an avid collector of his country’s folk music.

He was more concerned with capturing and preserving an imagined spirit of folklore than in recording it with strict discipline, though he also pioneered modern-day approaches to ethnomusicology by working to understand the essential cultural context behind the music’s production. “In his research papers, he described not only the songs per se, but also the conditions of their performance — landscape, time of day, weather,” the musicologist Artur Avanesov writes in one of the album book’s essays. “Decades later, the same was done by Olivier Messiaen.”

Gerstein described Komitas’s music as “gestural” and “stark,” and as having “a feeling of immense space and spaciousness.” This is most keenly felt in his set of Armenian songs like “Tsirani Tsar,” in which single, unadorned lines are spread far apart at the piano, with a gaping chasm in between.

“I haven’t been able to perform these songs for a long time,” Mantashyan, the soprano, said in an interview. Her grandfather’s cousin, Alexander Mantashyan, was a patron of Komitas, and sent a grand piano to Berlin to help the composer work. She has known his songs since she was a student at the Komitas State Conservatory of Yerevan. But it has taken 15 years for her to feel like she’s ready to record them. As Avanesov says, “Writing on Komitas while living in Armenia is a task tantamount to rethinking the Scriptures.”

When Mantashyan collaborate with Gerstein on Komitas’s songs, “Antuni” (“Homeless”), a piece with deep resonance among the Armenian diaspora, was recorded in a single take then left unedited. “It’s not about perfection,” she said of the music. “It’s about pain.”

Ferruccio Busoni, a favorite composer of Gerstein’s, and whose Piano Concerto he recently toured in Europe, said that music is like “sonorous air.” Komitas, Gerstein said, “manages to capture the ‘sonorous air’ of the Armenian people. This is quite close to magical.”

IN AN INTERVIEW with Van Magazine in 2018, Gerstein was asked about the responsibility of artists to make political statements . “I’m rather careful with that,” he replied. “There are political figures, commentators and activists that are so committed to their field; just to dabble in political commentary would be as irresponsible as their making a suggestion of a speed of a transition in a Brahms sonata.”

He stands by that belief today. Gerstein is skeptical of “the self-congratulatory political activism of some figures” in classical music, he said, who make “loud and bland pronouncements about things that real activists, real journalists and really courageous people are truly putting themselves on the line for.”

Music can, though, comment on a moment in time, even if indirectly. Debussy’s contribution to the war effort, for example, was to assert his belief in the primacy of French music. (An extraordinarily productive period in 1915 resulted in the Cello Sonata and the Sonata for Flute, Viola and Harp, as well as many of the works heard on “Music in Time of War.”)

And Gerstein’s new album, while recorded in 2021, has the power to speak to wars today: in Ukraine and Sudan, in Yemen and Gaza. “It’s rather clear that World War I and its repercussions — the demise of the Ottoman Empire — is what has shaped the modern conflict in the Middle East,” Gerstein said. “These reverberations and connections are not to be overlooked. The reverberations of history create today’s earthquakes.”

The history of the Armenian genocide remains unsettled. Gerstein, despite cautioning against general political statements by artists, didn’t hesitate to note that “the Armenian genocide is something that’s still not universally recognized, you know, 109 years after the fact.” Progress has been made — President Biden’s recognition of the genocide in 2021 was seen as a major breakthrough — but a unified understanding of this history still faces major opposition, not least from Turkey, whose role in the atrocities has long been denied by the government.

Gerstein’s project asks an important question about the place and purpose of art and artists in times of humanitarian crisis. One of the roles of culture, he said, is to provoke a conversation, “not in the context of a political news item, and not in the context of a historical lecture,” but through the lens of culture itself. “People are confronted,” he said, “to think about Komitas, about music, about preserving the sound of a disappearing people, of genocide, and of the effects of war on society — on both artists and culture.”

On Komitas’s birthday, in October, Gerstein and Mantashyan released a recording on YouTube of “Antuni,” they said, “in solidarity with the Armenian nation.” A ground assault by Azerbaijani troops had driven about 120,000 Armenians out of their homes in the ethnic Armenian enclave of Nagorno-Karabakh of Azerbaijan. “There is an existential threat that Armenia continues to experience,” Gerstein said. “It’s not only something that happened 109 years ago, and we should recognize it more.”

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