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Persuasive Essay Guide

Persuasive Essay About Covid19

How to Write a Persuasive Essay About Covid19 | Examples & Tips

14 min read

Steps to Write a Persuasive Essay About Covid-19

Here are the steps to help you write a persuasive essay on this topic, along with an example essay:

Step 1: Choose a Specific Thesis Statement

Your thesis statement should clearly state your position on a specific aspect of COVID-19. It should be debatable and clear. For example:

"COVID-19 vaccination mandates are necessary for public health and safety."

Step 2: Research and Gather Information

Collect reliable and up-to-date information from reputable sources to support your thesis statement. This may include statistics, expert opinions, and scientific studies. For instance:

COVID-19 vaccination effectiveness data
Information on vaccine mandates in different countries
Expert statements from health organizations like the WHO or CDC

Step 3: Outline Your Essay

Create a clear and organized outline to structure your essay. A persuasive essay typically follows this structure:

Introduction
Background Information
Body Paragraphs (with supporting evidence)
Counterarguments (addressing opposing views)

Step 4: Write the Introduction

In the introduction, grab your reader's attention and present your thesis statement. For example:

The COVID-19 pandemic has presented an unprecedented global challenge, and in the face of this crisis, many countries have debated the implementation of vaccination mandates. This essay argues that such mandates are essential for safeguarding public health and preventing further devastation caused by the virus.

Step 5: Provide Background Information

Offer context and background information to help your readers understand the issue better. For instance:

COVID-19, caused by the novel coronavirus SARS-CoV-2, emerged in late 2019 and quickly spread worldwide, leading to millions of infections and deaths. Vaccination has proven to be an effective tool in curbing the virus's spread and severity.

Step 6: Develop Body Paragraphs

Each body paragraph should present a single point or piece of evidence that supports your thesis statement. Use clear topic sentences , evidence, and analysis. Here's an example:

One compelling reason for implementing COVID-19 vaccination mandates is the overwhelming evidence of vaccine effectiveness. According to a study published in the New England Journal of Medicine, the Pfizer-BioNTech and Moderna vaccines demonstrated an efficacy of over 90% in preventing symptomatic COVID-19 cases. This level of protection not only reduces the risk of infection but also minimizes the virus's impact on healthcare systems.

Step 7: Address Counterarguments

Acknowledge opposing viewpoints and refute them with strong counterarguments. This demonstrates that you've considered different perspectives. For example:

Some argue that vaccination mandates infringe on personal freedoms and autonomy. While individual freedom is a crucial aspect of democratic societies, public health measures have long been implemented to protect the collective well-being. Seatbelt laws, for example, are in place to save lives, even though they restrict personal choice.

Step 8: Write the Conclusion

Summarize your main points and restate your thesis statement in the conclusion. End with a strong call to action or thought-provoking statement. For instance:

In conclusion, COVID-19 vaccination mandates are a crucial step toward controlling the pandemic, protecting public health, and preventing further loss of life. The evidence overwhelmingly supports their effectiveness, and while concerns about personal freedoms are valid, they must be weighed against the greater good of society. It is our responsibility to take collective action to combat this global crisis and move toward a safer, healthier future.

Step 9: Revise and Proofread

Edit your essay for clarity, coherence, grammar, and spelling errors. Ensure that your argument flows logically.

Step 10: Cite Your Sources

Include proper citations and a bibliography page to give credit to your sources.

Remember to adjust your approach and arguments based on your target audience and the specific angle you want to take in your persuasive essay about COVID-19.

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Examples of Persuasive Essay About COVID-19

When writing a persuasive essay about the COVID-19 pandemic, it’s important to consider how you want to present your argument. To help you get started, here are some example essays for you to read:

Here is another example explaining How COVID-19 has changed our lives essay:

The COVID-19 pandemic, which began in late 2019, has drastically altered the way we live. From work and education to social interactions and healthcare, every aspect of our daily routines has been impacted. Reflecting on these changes helps us understand their long-term implications.

COVID-19, caused by the novel coronavirus SARS-CoV-2, is an infectious disease first identified in December 2019 in Wuhan, China. It spreads through respiratory droplets and can range from mild symptoms like fever and cough to severe cases causing pneumonia and death. The rapid spread and severe health impacts have led to significant public health measures worldwide.

The pandemic shifted many to remote work and online education. While some enjoy the flexibility, others face challenges like limited access to technology and blurred boundaries between work and home.

Social distancing and lockdowns have led to increased isolation and mental health issues. However, the pandemic has also fostered community resilience, with people finding new ways to connect and support each other virtually.

Healthcare systems have faced significant challenges, leading to innovations in telemedicine and a focus on public health infrastructure. Heightened awareness of hygiene practices, like handwashing and mask-wearing, has helped reduce the spread of infectious diseases.

COVID-19 has caused severe economic repercussions, including business closures and job losses. While governments have implemented relief measures, the long-term effects are still uncertain. The pandemic has also accelerated trends like e-commerce and contactless payments.

The reduction in travel and industrial activities during lockdowns led to a temporary decrease in pollution and greenhouse gas emissions. This has sparked discussions about sustainable practices and the potential for a green recovery.

COVID-19 has reshaped our lives in numerous ways, affecting work, education, social interactions, healthcare, the economy, and the environment. As we adapt to this new normal, it is crucial to learn from these experiences and work towards a more resilient and equitable future.

Let’s look at another sample essay:

The COVID-19 pandemic has been a transformative event, reshaping every aspect of our lives. In my opinion, while the pandemic has brought immense challenges, it has also offered valuable lessons and opportunities for growth.

One of the most striking impacts has been on our healthcare systems. The pandemic exposed weaknesses and gaps, prompting a much-needed emphasis on public health infrastructure and the importance of preparedness. Innovations in telemedicine and vaccine development have been accelerated, showing the incredible potential of scientific collaboration.

Socially, the pandemic has highlighted the importance of community and human connection. While lockdowns and social distancing measures increased feelings of isolation, they also fostered a sense of solidarity. People found creative ways to stay connected and support each other, from virtual gatherings to community aid initiatives.

The shift to remote work and online education has been another significant change. This transition, though challenging, demonstrated the flexibility and adaptability of both individuals and organizations. It also underscored the importance of digital literacy and access to technology.

Economically, the pandemic has caused widespread disruption. Many businesses closed, and millions lost their jobs. However, it also prompted a reevaluation of business models and work practices. The accelerated adoption of e-commerce and remote work could lead to more sustainable and efficient ways of operating in the future.

In conclusion, the COVID-19 pandemic has been a profound and complex event. While it brought about considerable hardship, it also revealed the strength and resilience of individuals and communities. Moving forward, it is crucial to build on the lessons learned to create a more resilient and equitable world.

Check out some more PDF examples below:

Persuasive Essay About Covid-19 Pandemic

Sample Of Persuasive Essay About Covid-19

Persuasive Essay About Covid-19 In The Philippines - Example

If you're in search of a compelling persuasive essay on business, don't miss out on our “ persuasive essay about business ” blog!

Examples of Persuasive Essay About COVID-19 Vaccine

Covid19 vaccines are one of the ways to prevent the spread of COVID-19, but they have been a source of controversy. Different sides argue about the benefits or dangers of the new vaccines. Whatever your point of view is, writing a persuasive essay about it is a good way of organizing your thoughts and persuading others.

A persuasive essay about the COVID-19 vaccine could consider the benefits of getting vaccinated as well as the potential side effects.

Below are some examples of persuasive essays on getting vaccinated for Covid-19.

Covid19 Vaccine Persuasive Essay

Persuasive Essay on Covid Vaccines

Interested in thought-provoking discussions on abortion? Read our persuasive essay about abortion blog to eplore arguments!

Examples of Persuasive Essay About COVID-19 Integration

Covid19 has drastically changed the way people interact in schools, markets, and workplaces. In short, it has affected all aspects of life. However, people have started to learn to live with Covid19.

Writing a persuasive essay about it shouldn't be stressful. Read the sample essay below to get an idea for your own essay about Covid19 integration.

Persuasive Essay About Working From Home During Covid19

Searching for the topic of Online Education? Our persuasive essay about online education is a must-read.

Examples of Argumentative Essay About Covid 19

Covid-19 has been an ever-evolving issue, with new developments and discoveries being made on a daily basis.

Writing an argumentative essay about such an issue is both interesting and challenging. It allows you to evaluate different aspects of the pandemic, as well as consider potential solutions.

Here are some examples of argumentative essays on Covid19.

Argumentative Essay About Covid19 Sample

Argumentative Essay About Covid19 With Introduction Body and Conclusion

Looking for a persuasive take on the topic of smoking? You'll find it all related arguments in out Persuasive Essay About Smoking blog!

Examples of Persuasive Speeches About Covid-19

Do you need to prepare a speech about Covid19 and need examples? We have them for you!

Persuasive speeches about Covid-19 can provide the audience with valuable insights on how to best handle the pandemic. They can be used to advocate for specific changes in policies or simply raise awareness about the virus.

Check out some examples of persuasive speeches on Covid-19:

Persuasive Speech About Covid-19 Example

Persuasive Speech About Vaccine For Covid-19

You can also read persuasive essay examples on other topics to master your persuasive techniques!

Tips to Write a Persuasive Essay About Covid-19

Writing a persuasive essay about COVID-19 requires a thoughtful approach to present your arguments effectively.

Here are some tips to help you craft a compelling persuasive essay on this topic:

Choose a Specific Angle: Narrow your focus to a specific aspect of COVID-19, like vaccination or public health measures.
Provide Credible Sources: Support your arguments with reliable sources like scientific studies and government reports.
Use Persuasive Language: Employ ethos, pathos, and logos , and use vivid examples to make your points relatable.
Organize Your Essay: Create a solid persuasive essay outline and ensure a logical flow, with each paragraph focusing on a single point.
Emphasize Benefits: Highlight how your suggestions can improve public health, safety, or well-being.
Use Visuals: Incorporate graphs, charts, and statistics to reinforce your arguments.
Call to Action: End your essay conclusion with a strong call to action, encouraging readers to take a specific step.
Revise and Edit: Proofread for grammar, spelling, and clarity, ensuring smooth writing flow.
Seek Feedback: Have someone else review your essay for valuable insights and improvements.

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Common Topics for a Persuasive Essay on COVID-19

Here are some persuasive essay topics on COVID-19:

The Importance of Vaccination Mandates for COVID-19 Control
Balancing Public Health and Personal Freedom During a Pandemic
The Economic Impact of Lockdowns vs. Public Health Benefits
The Role of Misinformation in Fueling Vaccine Hesitancy
Remote Learning vs. In-Person Education: What's Best for Students?
The Ethics of Vaccine Distribution: Prioritizing Vulnerable Populations
The Mental Health Crisis Amidst the COVID-19 Pandemic
The Long-Term Effects of COVID-19 on Healthcare Systems
Global Cooperation vs. Vaccine Nationalism in Fighting the Pandemic
The Future of Telemedicine: Expanding Healthcare Access Post-COVID-19

In search of more inspiring topics for your next persuasive essay? Our persuasive essay topics blog has plenty of ideas!

To sum it up,

You’ve explored great sample essays and picked up some useful tips. You now have the tools you need to write a persuasive essay about Covid-19. So don’t let doubts hold you back—start writing!

If you’re feeling stuck or need a bit of extra help, don’t worry! MyPerfectWords.com offers a professional persuasive essay writing service that can assist you. Our experienced essay writers are ready to help you craft a well-structured, insightful paper on Covid-19.

Just place your “ do my essay for me ” request today, and let us take care of the rest!

Frequently Asked Questions

What is a good title for a covid-19 essay.

A good title for a COVID-19 essay should be clear, engaging, and reflective of the essay's content. Examples include:

"The Impact of COVID-19 on Global Health"
"How COVID-19 Has Transformed Our Daily Lives"
"COVID-19: Lessons Learned and Future Implications"

How do I write an informative essay about COVID-19?

To write an informative essay about COVID-19, follow these steps:

Choose a specific focus: Select a particular aspect of COVID-19, such as its transmission, symptoms, or vaccines.
Research thoroughly: Gather information from credible sources like scientific journals and official health organizations.
Organize your content: Structure your essay with an introduction, body paragraphs, and a conclusion.
Present facts clearly: Use clear, concise language to convey information accurately.
Include visuals: Use charts or graphs to illustrate data and make your essay more engaging.

How do I write an expository essay about COVID-19?

To write an expository essay about COVID-19, follow these steps:

Select a clear topic: Focus on a specific question or issue related to COVID-19.
Conduct thorough research: Use reliable sources to gather information.
Create an outline: Organize your essay with an introduction, body paragraphs, and a conclusion.
Explain the topic: Use facts and examples to explain the chosen aspect of COVID-19 in detail.
Maintain objectivity: Present information in a neutral and unbiased manner.
Edit and revise: Proofread your essay for clarity, coherence, and accuracy.

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Essay On Covid-19: 100, 200 and 300 Words

Updated on
Apr 30, 2024

COVID-19, also known as the Coronavirus, is a global pandemic that has affected people all around the world. It first emerged in a lab in Wuhan, China, in late 2019 and quickly spread to countries around the world. This virus was reportedly caused by SARS-CoV-2. Since then, it has spread rapidly to many countries, causing widespread illness and impacting our lives in numerous ways. This blog talks about the details of this virus and also drafts an essay on COVID-19 in 100, 200 and 300 words for students and professionals.

Table of Contents

1 Essay On COVID-19 in English 100 Words
2 Essay On COVID-19 in 200 Words
3 Essay On COVID-19 in 300 Words
4 Short Essay on Covid-19

Essay On COVID-19 in English 100 Words

COVID-19, also known as the coronavirus, is a global pandemic. It started in late 2019 and has affected people all around the world. The virus spreads very quickly through someone’s sneeze and respiratory issues.

COVID-19 has had a significant impact on our lives, with lockdowns, travel restrictions, and changes in daily routines. To prevent the spread of COVID-19, we should wear masks, practice social distancing, and wash our hands frequently.

People should follow social distancing and other safety guidelines and also learn the tricks to be safe stay healthy and work the whole challenging time.

Also Read: National Safe Motherhood Day 2023

Essay On COVID-19 in 200 Words

COVID-19 also known as coronavirus, became a global health crisis in early 2020 and impacted mankind around the world. This virus is said to have originated in Wuhan, China in late 2019. It belongs to the coronavirus family and causes flu-like symptoms. It impacted the healthcare systems, economies and the daily lives of people all over the world.

The most crucial aspect of COVID-19 is its highly spreadable nature. It is a communicable disease that spreads through various means such as coughs from infected persons, sneezes and communication. Due to its easy transmission leading to its outbreaks, there were many measures taken by the government from all over the world such as Lockdowns, Social Distancing, and wearing masks.

There are many changes throughout the economic systems, and also in daily routines. Other measures such as schools opting for Online schooling, Remote work options available and restrictions on travel throughout the country and internationally. Subsequently, to cure and top its outbreak, the government started its vaccine campaigns, and other preventive measures.

In conclusion, COVID-19 tested the patience and resilience of the mankind. This pandemic has taught people the importance of patience, effort and humbleness.

Essay On COVID-19 in 300 Words

COVID-19, also known as the coronavirus, is a serious and contagious disease that has affected people worldwide. It was first discovered in late 2019 in Cina and then got spread in the whole world. It had a major impact on people’s life, their school, work and daily lives.

COVID-19 is primarily transmitted from person to person through respiratory droplets produced and through sneezes, and coughs of an infected person. It can spread to thousands of people because of its highly contagious nature. To cure the widespread of this virus, there are thousands of steps taken by the people and the government.

Wearing masks is one of the essential precautions to prevent the virus from spreading. Social distancing is another vital practice, which involves maintaining a safe distance from others to minimize close contact.

Very frequent handwashing is also very important to stop the spread of this virus. Proper hand hygiene can help remove any potential virus particles from our hands, reducing the risk of infection.

In conclusion, the Coronavirus has changed people’s perspective on living. It has also changed people’s way of interacting and how to live. To deal with this virus, it is very important to follow the important guidelines such as masks, social distancing and techniques to wash your hands. Getting vaccinated is also very important to go back to normal life and cure this virus completely.

Also Read: Essay on Abortion in English in 650 Words

Short Essay on Covid-19

Please find below a sample of a short essay on Covid-19 for school students:

Also Read: Essay on Women’s Day in 200 and 500 words

to write an essay on COVID-19, understand your word limit and make sure to cover all the stages and symptoms of this disease. You need to highlight all the challenges and impacts of COVID-19. Do not forget to conclude your essay with positive precautionary measures.

Writing an essay on COVID-19 in 200 words requires you to cover all the challenges, impacts and precautions of this disease. You don’t need to describe all of these factors in brief, but make sure to add as many options as your word limit allows.

The full form for COVID-19 is Corona Virus Disease of 2019.

Simran Popli

An avid writer and a creative person. With an experience of 1.5 years content writing, Simran has worked with different areas. From medical to working in a marketing agency with different clients to Ed-tech company, the journey has been diverse. Creative, vivacious and patient are the words that describe her personality.

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Read these 12 moving essays about life during coronavirus

Artists, novelists, critics, and essayists are writing the first draft of history.

by Alissa Wilkinson

The world is grappling with an invisible, deadly enemy, trying to understand how to live with the threat posed by a virus . For some writers, the only way forward is to put pen to paper, trying to conceptualize and document what it feels like to continue living as countries are under lockdown and regular life seems to have ground to a halt.

So as the coronavirus pandemic has stretched around the world, it’s sparked a crop of diary entries and essays that describe how life has changed. Novelists, critics, artists, and journalists have put words to the feelings many are experiencing. The result is a first draft of how we’ll someday remember this time, filled with uncertainty and pain and fear as well as small moments of hope and humanity.

The Vox guide to navigating the coronavirus crisis

At the New York Review of Books, Ali Bhutto writes that in Karachi, Pakistan, the government-imposed curfew due to the virus is “eerily reminiscent of past military clampdowns”:

Beneath the quiet calm lies a sense that society has been unhinged and that the usual rules no longer apply. Small groups of pedestrians look on from the shadows, like an audience watching a spectacle slowly unfolding. People pause on street corners and in the shade of trees, under the watchful gaze of the paramilitary forces and the police.

His essay concludes with the sobering note that “in the minds of many, Covid-19 is just another life-threatening hazard in a city that stumbles from one crisis to another.”

Writing from Chattanooga, novelist Jamie Quatro documents the mixed ways her neighbors have been responding to the threat, and the frustration of conflicting direction, or no direction at all, from local, state, and federal leaders:

Whiplash, trying to keep up with who’s ordering what. We’re already experiencing enough chaos without this back-and-forth. Why didn’t the federal government issue a nationwide shelter-in-place at the get-go, the way other countries did? What happens when one state’s shelter-in-place ends, while others continue? Do states still under quarantine close their borders? We are still one nation, not fifty individual countries. Right?

A syllabus for the end of the world

Award-winning photojournalist Alessio Mamo, quarantined with his partner Marta in Sicily after she tested positive for the virus, accompanies his photographs in the Guardian of their confinement with a reflection on being confined :

The doctors asked me to take a second test, but again I tested negative. Perhaps I’m immune? The days dragged on in my apartment, in black and white, like my photos. Sometimes we tried to smile, imagining that I was asymptomatic, because I was the virus. Our smiles seemed to bring good news. My mother left hospital, but I won’t be able to see her for weeks. Marta started breathing well again, and so did I. I would have liked to photograph my country in the midst of this emergency, the battles that the doctors wage on the frontline, the hospitals pushed to their limits, Italy on its knees fighting an invisible enemy. That enemy, a day in March, knocked on my door instead.

In the New York Times Magazine, deputy editor Jessica Lustig writes with devastating clarity about her family’s life in Brooklyn while her husband battled the virus, weeks before most people began taking the threat seriously:

At the door of the clinic, we stand looking out at two older women chatting outside the doorway, oblivious. Do I wave them away? Call out that they should get far away, go home, wash their hands, stay inside? Instead we just stand there, awkwardly, until they move on. Only then do we step outside to begin the long three-block walk home. I point out the early magnolia, the forsythia. T says he is cold. The untrimmed hairs on his neck, under his beard, are white. The few people walking past us on the sidewalk don’t know that we are visitors from the future. A vision, a premonition, a walking visitation. This will be them: Either T, in the mask, or — if they’re lucky — me, tending to him.

Essayist Leslie Jamison writes in the New York Review of Books about being shut away alone in her New York City apartment with her 2-year-old daughter since she became sick:

The virus. Its sinewy, intimate name. What does it feel like in my body today? Shivering under blankets. A hot itch behind the eyes. Three sweatshirts in the middle of the day. My daughter trying to pull another blanket over my body with her tiny arms. An ache in the muscles that somehow makes it hard to lie still. This loss of taste has become a kind of sensory quarantine. It’s as if the quarantine keeps inching closer and closer to my insides. First I lost the touch of other bodies; then I lost the air; now I’ve lost the taste of bananas. Nothing about any of these losses is particularly unique. I’ve made a schedule so I won’t go insane with the toddler. Five days ago, I wrote Walk/Adventure! on it, next to a cut-out illustration of a tiger—as if we’d see tigers on our walks. It was good to keep possibility alive.

At Literary Hub, novelist Heidi Pitlor writes about the elastic nature of time during her family’s quarantine in Massachusetts:

During a shutdown, the things that mark our days—commuting to work, sending our kids to school, having a drink with friends—vanish and time takes on a flat, seamless quality. Without some self-imposed structure, it’s easy to feel a little untethered. A friend recently posted on Facebook: “For those who have lost track, today is Blursday the fortyteenth of Maprilay.” ... Giving shape to time is especially important now, when the future is so shapeless. We do not know whether the virus will continue to rage for weeks or months or, lord help us, on and off for years. We do not know when we will feel safe again. And so many of us, minus those who are gifted at compartmentalization or denial, remain largely captive to fear. We may stay this way if we do not create at least the illusion of movement in our lives, our long days spent with ourselves or partners or families.

What day is it today?

Novelist Lauren Groff writes at the New York Review of Books about trying to escape the prison of her fears while sequestered at home in Gainesville, Florida:

Some people have imaginations sparked only by what they can see; I blame this blinkered empiricism for the parks overwhelmed with people, the bars, until a few nights ago, thickly thronged. My imagination is the opposite. I fear everything invisible to me. From the enclosure of my house, I am afraid of the suffering that isn’t present before me, the people running out of money and food or drowning in the fluid in their lungs, the deaths of health-care workers now growing ill while performing their duties. I fear the federal government, which the right wing has so—intentionally—weakened that not only is it insufficient to help its people, it is actively standing in help’s way. I fear we won’t sufficiently punish the right. I fear leaving the house and spreading the disease. I fear what this time of fear is doing to my children, their imaginations, and their souls.

At ArtForum , Berlin-based critic and writer Kristian Vistrup Madsen reflects on martinis, melancholia, and Finnish artist Jaakko Pallasvuo’s 2018 graphic novel Retreat , in which three young people exile themselves in the woods:

In melancholia, the shape of what is ending, and its temporality, is sprawling and incomprehensible. The ambivalence makes it hard to bear. The world of Retreat is rendered in lush pink and purple watercolors, which dissolve into wild and messy abstractions. In apocalypse, the divisions established in genesis bleed back out. My own Corona-retreat is similarly soft, color-field like, each day a blurred succession of quarantinis, YouTube–yoga, and televized press conferences. As restrictions mount, so does abstraction. For now, I’m still rooting for love to save the world.

At the Paris Review , Matt Levin writes about reading Virginia Woolf’s novel The Waves during quarantine:

A retreat, a quarantine, a sickness—they simultaneously distort and clarify, curtail and expand. It is an ideal state in which to read literature with a reputation for difficulty and inaccessibility, those hermetic books shorn of the handholds of conventional plot or characterization or description. A novel like Virginia Woolf’s The Waves is perfect for the state of interiority induced by quarantine—a story of three men and three women, meeting after the death of a mutual friend, told entirely in the overlapping internal monologues of the six, interspersed only with sections of pure, achingly beautiful descriptions of the natural world, a day’s procession and recession of light and waves. The novel is, in my mind’s eye, a perfectly spherical object. It is translucent and shimmering and infinitely fragile, prone to shatter at the slightest disturbance. It is not a book that can be read in snatches on the subway—it demands total absorption. Though it revels in a stark emotional nakedness, the book remains aloof, remote in its own deep self-absorption.

Vox is starting a book club. Come read with us!

In an essay for the Financial Times, novelist Arundhati Roy writes with anger about Indian Prime Minister Narendra Modi’s anemic response to the threat, but also offers a glimmer of hope for the future:

Historically, pandemics have forced humans to break with the past and imagine their world anew. This one is no different. It is a portal, a gateway between one world and the next. We can choose to walk through it, dragging the carcasses of our prejudice and hatred, our avarice, our data banks and dead ideas, our dead rivers and smoky skies behind us. Or we can walk through lightly, with little luggage, ready to imagine another world. And ready to fight for it.

From Boston, Nora Caplan-Bricker writes in The Point about the strange contraction of space under quarantine, in which a friend in Beirut is as close as the one around the corner in the same city:

It’s a nice illusion—nice to feel like we’re in it together, even if my real world has shrunk to one person, my husband, who sits with his laptop in the other room. It’s nice in the same way as reading those essays that reframe social distancing as solidarity. “We must begin to see the negative space as clearly as the positive, to know what we don’t do is also brilliant and full of love,” the poet Anne Boyer wrote on March 10th, the day that Massachusetts declared a state of emergency. If you squint, you could almost make sense of this quarantine as an effort to flatten, along with the curve, the distinctions we make between our bonds with others. Right now, I care for my neighbor in the same way I demonstrate love for my mother: in all instances, I stay away. And in moments this month, I have loved strangers with an intensity that is new to me. On March 14th, the Saturday night after the end of life as we knew it, I went out with my dog and found the street silent: no lines for restaurants, no children on bicycles, no couples strolling with little cups of ice cream. It had taken the combined will of thousands of people to deliver such a sudden and complete emptiness. I felt so grateful, and so bereft.

And on his own website, musician and artist David Byrne writes about rediscovering the value of working for collective good , saying that “what is happening now is an opportunity to learn how to change our behavior”:

In emergencies, citizens can suddenly cooperate and collaborate. Change can happen. We’re going to need to work together as the effects of climate change ramp up. In order for capitalism to survive in any form, we will have to be a little more socialist. Here is an opportunity for us to see things differently — to see that we really are all connected — and adjust our behavior accordingly. Are we willing to do this? Is this moment an opportunity to see how truly interdependent we all are? To live in a world that is different and better than the one we live in now? We might be too far down the road to test every asymptomatic person, but a change in our mindsets, in how we view our neighbors, could lay the groundwork for the collective action we’ll need to deal with other global crises. The time to see how connected we all are is now.

The portrait these writers paint of a world under quarantine is multifaceted. Our worlds have contracted to the confines of our homes, and yet in some ways we’re more connected than ever to one another. We feel fear and boredom, anger and gratitude, frustration and strange peace. Uncertainty drives us to find metaphors and images that will let us wrap our minds around what is happening.

Yet there’s no single “what” that is happening. Everyone is contending with the pandemic and its effects from different places and in different ways. Reading others’ experiences — even the most frightening ones — can help alleviate the loneliness and dread, a little, and remind us that what we’re going through is both unique and shared by all.

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How to Write About the Impact of the Coronavirus in a College Essay

The global impact of COVID-19, the disease caused by the novel coronavirus, means colleges and prospective students alike are in for an admissions cycle like no other. Both face unprecedented challenges and questions as they grapple with their respective futures amid the ongoing fallout of the pandemic.

Colleges must examine applicants without the aid of standardized test scores for many -- a factor that prompted many schools to go test-optional for now . Even grades, a significant component of a college application, may be hard to interpret with some high schools adopting pass-fail classes last spring due to the pandemic. Major college admissions factors are suddenly skewed.

"I can't help but think other (admissions) factors are going to matter more," says Ethan Sawyer, founder of the College Essay Guy, a website that offers free and paid essay-writing resources.

College essays and letters of recommendation , Sawyer says, are likely to carry more weight than ever in this admissions cycle. And many essays will likely focus on how the pandemic shaped students' lives throughout an often tumultuous 2020.

[ Read: How to Write a College Essay. ]

But before writing a college essay focused on the coronavirus, students should explore whether it's the best topic for them.

Writing About COVID-19 for a College Application

Much of daily life has been colored by the coronavirus. Virtual learning is the norm at many colleges and high schools, many extracurriculars have vanished and social lives have stalled for students complying with measures to stop the spread of COVID-19.

"For some young people, the pandemic took away what they envisioned as their senior year," says Robert Alexander, dean of admissions, financial aid and enrollment management at the University of Rochester in New York. "Maybe that's a spot on a varsity athletic team or the lead role in the fall play. And it's OK for them to mourn what should have been and what they feel like they lost, but more important is how are they making the most of the opportunities they do have?"

That question, Alexander says, is what colleges want answered if students choose to address COVID-19 in their college essay.

But the question of whether a student should write about the coronavirus is tricky. The answer depends largely on the student.

"In general, I don't think students should write about COVID-19 in their main personal statement for their application," Robin Miller, master college admissions counselor at IvyWise, a college counseling company, wrote in an email.

"Certainly, there may be exceptions to this based on a student's individual experience, but since the personal essay is the main place in the application where the student can really allow their voice to be heard and share insight into who they are as an individual, there are likely many other topics they can choose to write about that are more distinctive and unique than COVID-19," Miller says.

[ Read: What Colleges Look for: 6 Ways to Stand Out. ]

Opinions among admissions experts vary on whether to write about the likely popular topic of the pandemic.

"If your essay communicates something positive, unique, and compelling about you in an interesting and eloquent way, go for it," Carolyn Pippen, principal college admissions counselor at IvyWise, wrote in an email. She adds that students shouldn't be dissuaded from writing about a topic merely because it's common, noting that "topics are bound to repeat, no matter how hard we try to avoid it."

Above all, she urges honesty.

"If your experience within the context of the pandemic has been truly unique, then write about that experience, and the standing out will take care of itself," Pippen says. "If your experience has been generally the same as most other students in your context, then trying to find a unique angle can easily cross the line into exploiting a tragedy, or at least appearing as though you have."

But focusing entirely on the pandemic can limit a student to a single story and narrow who they are in an application, Sawyer says. "There are so many wonderful possibilities for what you can say about yourself outside of your experience within the pandemic."

He notes that passions, strengths, career interests and personal identity are among the multitude of essay topic options available to applicants and encourages them to probe their values to help determine the topic that matters most to them -- and write about it.

That doesn't mean the pandemic experience has to be ignored if applicants feel the need to write about it.

Writing About Coronavirus in Main and Supplemental Essays

Students can choose to write a full-length college essay on the coronavirus or summarize their experience in a shorter form.

To help students explain how the pandemic affected them, The Common App has added an optional section to address this topic. Applicants have 250 words to describe their pandemic experience and the personal and academic impact of COVID-19.

[ Read: The Common App: Everything You Need to Know. ]

"That's not a trick question, and there's no right or wrong answer," Alexander says. Colleges want to know, he adds, how students navigated the pandemic, how they prioritized their time, what responsibilities they took on and what they learned along the way.

If students can distill all of the above information into 250 words, there's likely no need to write about it in a full-length college essay, experts say. And applicants whose lives were not heavily altered by the pandemic may even choose to skip the optional COVID-19 question.

"This space is best used to discuss hardship and/or significant challenges that the student and/or the student's family experienced as a result of COVID-19 and how they have responded to those difficulties," Miller notes. Using the section to acknowledge a lack of impact, she adds, "could be perceived as trite and lacking insight, despite the good intentions of the applicant."

To guard against this lack of awareness, Sawyer encourages students to tap someone they trust to review their writing , whether it's the 250-word Common App response or the full-length essay.

Experts tend to agree that the short-form approach to this as an essay topic works better, but there are exceptions. And if a student does have a coronavirus story that he or she feels must be told, Alexander encourages the writer to be authentic in the essay.

"My advice for an essay about COVID-19 is the same as my advice about an essay for any topic -- and that is, don't write what you think we want to read or hear," Alexander says. "Write what really changed you and that story that now is yours and yours alone to tell."

Sawyer urges students to ask themselves, "What's the sentence that only I can write?" He also encourages students to remember that the pandemic is only a chapter of their lives and not the whole book.

Miller, who cautions against writing a full-length essay on the coronavirus, says that if students choose to do so they should have a conversation with their high school counselor about whether that's the right move. And if students choose to proceed with COVID-19 as a topic, she says they need to be clear, detailed and insightful about what they learned and how they adapted along the way.

"Approaching the essay in this manner will provide important balance while demonstrating personal growth and vulnerability," Miller says.

Pippen encourages students to remember that they are in an unprecedented time for college admissions.

"It is important to keep in mind with all of these (admission) factors that no colleges have ever had to consider them this way in the selection process, if at all," Pippen says. "They have had very little time to calibrate their evaluations of different application components within their offices, let alone across institutions. This means that colleges will all be handling the admissions process a little bit differently, and their approaches may even evolve over the course of the admissions cycle."

Searching for a college? Get our complete rankings of Best Colleges.

Writing about COVID-19 in a college admission essay

by: Venkates Swaminathan | Updated: September 14, 2020

Print article

Writing about COVID-19 in your college admission essay

For students applying to college using the CommonApp, there are several different places where students and counselors can address the pandemic’s impact. The different sections have differing goals. You must understand how to use each section for its appropriate use.

The CommonApp COVID-19 question

First, the CommonApp this year has an additional question specifically about COVID-19 :

Community disruptions such as COVID-19 and natural disasters can have deep and long-lasting impacts. If you need it, this space is yours to describe those impacts. Colleges care about the effects on your health and well-being, safety, family circumstances, future plans, and education, including access to reliable technology and quiet study spaces. Please use this space to describe how these events have impacted you.

This question seeks to understand the adversity that students may have had to face due to the pandemic, the move to online education, or the shelter-in-place rules. You don’t have to answer this question if the impact on you wasn’t particularly severe. Some examples of things students should discuss include:

The student or a family member had COVID-19 or suffered other illnesses due to confinement during the pandemic.
The candidate had to deal with personal or family issues, such as abusive living situations or other safety concerns
The student suffered from a lack of internet access and other online learning challenges.
Students who dealt with problems registering for or taking standardized tests and AP exams.

Jeff Schiffman of the Tulane University admissions office has a blog about this section. He recommends students ask themselves several questions as they go about answering this section:

Are my experiences different from others’?
Are there noticeable changes on my transcript?
Am I aware of my privilege?
Am I specific? Am I explaining rather than complaining?
Is this information being included elsewhere on my application?

If you do answer this section, be brief and to-the-point.

Counselor recommendations and school profiles

Second, counselors will, in their counselor forms and school profiles on the CommonApp, address how the school handled the pandemic and how it might have affected students, specifically as it relates to:

Grading scales and policies
Graduation requirements
Instructional methods
Schedules and course offerings
Testing requirements
Your academic calendar
Other extenuating circumstances

Students don’t have to mention these matters in their application unless something unusual happened.

Writing about COVID-19 in your main essay

Write about your experiences during the pandemic in your main college essay if your experience is personal, relevant, and the most important thing to discuss in your college admission essay. That you had to stay home and study online isn’t sufficient, as millions of other students faced the same situation. But sometimes, it can be appropriate and helpful to write about something related to the pandemic in your essay. For example:

One student developed a website for a local comic book store. The store might not have survived without the ability for people to order comic books online. The student had a long-standing relationship with the store, and it was an institution that created a community for students who otherwise felt left out.
One student started a YouTube channel to help other students with academic subjects he was very familiar with and began tutoring others.
Some students used their extra time that was the result of the stay-at-home orders to take online courses pursuing topics they are genuinely interested in or developing new interests, like a foreign language or music.

Experiences like this can be good topics for the CommonApp essay as long as they reflect something genuinely important about the student. For many students whose lives have been shaped by this pandemic, it can be a critical part of their college application.

Want more? Read 6 ways to improve a college essay , What the &%$! should I write about in my college essay , and Just how important is a college admissions essay? .

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Coronavirus Pandemic

A Pandemic College Essay That Probably Won’t Get You Into Brown

Community disruptions such as COVID -19 and natural disasters can have deep and long-lasting impacts. If you need it, this space is yours to describe those impacts. — The 2020-21 college-admissions Common Application.

COVID -19 is a very destructive respiratory disease that has caused much pain and suffering for millions of people around the world. Although my heart grieves for all the lives lost, each of us has suffered in our own unique ways. For me, that suffering took the form of not getting an opportunity to play the lead in our spring drama, which was, so tragically, cancelled.

For years, I have been working toward this goal. As a freshman, I auditioned for the role of Laura in the Tennessee Williams famous American drama “The Glass Menagerie.” While I did not win the role, I find it very ironic that now, only three years later, we have all become aware that life is as precious as those fateful glass figurines due to COVID -19.

As a sophomore, my efforts to secure the role of the wrongly accused Desdemona in William Shakespeare’s important play “Othello” were, once again, thwarted. Our drama coach, Ms. Wilkie, told me during the audition process that sophomores would be considered for leading roles, but the parts of Othello, Iago, and Desdemona all went to upperclassmen, even though none of them had taken private acting classes, as I have, with Leonard Michaels (Broadway credits include “Company,” “Starlight Express,” “Pump Boys and Dinettes”), at the Willows Dramatic Academy for Young Performers.

This experience taught me that authority figures do not always have “the answers,” a lesson reinforced when Dr. Anthony Fauci, who is a very respected medical adviser to many Presidents of the United States of America, said at first that masks should not be worn but then said that they should.

When discussing masks these days, it is impossible not to conjure in one’s mind images of the famous “Comedy and Tragedy” masks, which were worn in ancient Greece during the classical period, from approximately 500 to 300 B.C.

Junior year was a turning point for my high-school theatrical career. I auditioned to portray Abigail Williams in “The Crucible,” a play that on the surface purports to be about the Salem witch trials but is in fact a parable about McCarthyism, which was a terrible episode of American history that itself had a long-lasting impact on American history. Although I did not receive the part of Abigail Williams, I did play the pivotal role of Deputy Governor Danforth, who has several lines. Our school newspaper declared my presentation “dramatic” (review attached).

This year, my senior year, Ms. Wilkie said that we would be doing the Pulitzer Prize-winning drama “Our Town.” Never could I have foreseen that “our town” would be affected by the respiratory disease only a few short months later.

Needless to say, I watched in horror in January and February of last year as news reports emerged from China about a new respiratory ailment that threatened to sicken people and shut down vast portions of the economy. In March, we received word that our very high school would be closing its mahogany doors. The curtain on my high-school theatrical career, tragically, fell forever, before I even had the chance to audition for the central role of the Stage Manager, which I planned to reinterpret as a strong, independent woman in the wake of #MeToo.

Perhaps Fate is the real Stage Manager.

The Stanislavski method of acting teaches us to incorporate our actual experiences into our Craft. Should I have the great honor of studying at the Department of Theatre Arts and Performance Studies at Brown University, I vow to incorporate the suffering of this past year into my Art as a tribute to all those, including myself, who have experienced such tremendous loss.

It is believed that the immortal bard, William Shakespeare, said, “Instead of weeping when a tragedy occurs in a songbird’s life, it sings away its grief.” My time at Brown will be my chance to “sing away grief,” except that, unlike the tragedies of Shakespeare and other playwrights, my tragedy is real and therefore more tragic.

Please find attached a video of me in a scene from Herb Gardner’s “A Thousand Clowns” (performed with J. Leonard Mitchell, member, Actors’ Equity). ♦

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12 Ideas for Writing Through the Pandemic With The New York Times

A dozen writing projects — including journals, poems, comics and more — for students to try at home.

By Natalie Proulx

The coronavirus has transformed life as we know it. Schools are closed, we’re confined to our homes and the future feels very uncertain. Why write at a time like this?

For one, we are living through history. Future historians may look back on the journals, essays and art that ordinary people are creating now to tell the story of life during the coronavirus.

But writing can also be deeply therapeutic. It can be a way to express our fears, hopes and joys. It can help us make sense of the world and our place in it.

Plus, even though school buildings are shuttered, that doesn’t mean learning has stopped. Writing can help us reflect on what’s happening in our lives and form new ideas.

We want to help inspire your writing about the coronavirus while you learn from home. Below, we offer 12 projects for students, all based on pieces from The New York Times, including personal narrative essays, editorials, comic strips and podcasts. Each project features a Times text and prompts to inspire your writing, as well as related resources from The Learning Network to help you develop your craft. Some also offer opportunities to get your work published in The Times, on The Learning Network or elsewhere.

We know this list isn’t nearly complete. If you have ideas for other pandemic-related writing projects, please suggest them in the comments.

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Editor in Chief's Introduction to Essays on the Impact of COVID-19 on Work and Workers

On March 11, 2020, the World Health Organization declared that COVID-19 was a global pandemic, indicating significant global spread of an infectious disease ( World Health Organization, 2020 ). At that point, there were 118,000 confirmed cases of the coronavirus in 110 countries. China had been the first country with a widespread outbreak in January, and South Korea, Iran and Italy following in February with their own outbreaks. Soon, the virus was in all continents and over 177 countries, and as of this writing, the United States has the highest number of confirmed cases and, sadly, the most deaths. The virus was extremely contagious and led to death in the most vulnerable, particularly those older than 60 and those with underlying conditions. The most critical cases led to an overwhelming number being admitted into the intensive care units of hospitals, leading to a concern that the virus would overwhelm local health care systems. Today, in early May 2020, there have been nearly 250,000 deaths worldwide, with over 3,500,000 confirmed cases ( Hopkins, 2020 ). The human toll is staggering, and experts are predicting a second wave in summer or fall.

As the deaths rose from the virus that had no known treatment or vaccine countries shut their borders, banned travel to other countries and began to issue orders for their citizens to stay at home, with no gatherings of more than 10 individuals. Schools and universities closed their physical locations and moved education online. Sporting events were canceled, airlines cut flights, tourism evaporated, restaurants, movie theaters and bars closed, theater productions canceled, manufacturing facilities, services, and retail stores closed. In some businesses and industries, employees have been able to work remotely from home, but in others, workers have been laid off, furloughed, or had their hours cut. The International Labor Organization (ILO) estimates that there was a 4.5% reduction in hours in the first quarter of 2020, and 10.5% reduction is expected in the second quarter ( ILO, 2020a ). The latter is equivalent to 305 million jobs ( ILO, 2020a ).

Globally, over 430 million enterprises are at risk of disruption, with about half of those in the wholesale and retail trades ( ILO, 2020a ). Much focus in the press has been on the impact in Europe and North America, but the effect on developing countries is even more critical. An example of the latter is the Bangladeshi ready-made-garment sector ( Leitheiser et al., 2020 ), a global industry that depends on a supply chain of raw material from a few countries and produces those garments for retail stores throughout North America and Europe. But, in January 2020, raw material from China was delayed by the shutdown in China, creating delays and work stoppages in Bangladesh. By the time Bangladeshi factories had the material to make garments, in March, retailers in Europe and North American began to cancel orders or put them on hold, canceling or delaying payment. Factories shut down and workers were laid off without pay. Nearly a million people lost their jobs. Overall, since February 2020, the factories in Bangladesh have lost nearly 3 billion dollars in revenue. And, the retail stores that would have sold the garments have also closed. This demonstrates the ripple effect of the disruption of one industry that affects multiple countries and sets of workers, because consider that, in turn, there will be less raw material needed from China, and fewer workers needed there. One need only multiply this example by hundreds to consider the global impact of COVID-19 across the world of work.

The ILO (2020b) notes that it is difficult to collect employment statistics from different countries, so a total global unemployment rate is unavailable at this time. However, they predict significant increase in unemployment, and the number of individuals filing for unemployment benefits in the United States may be an indicator of the magnitude of those unemployed. In the United States, over 30 million filed for unemployment between March 11 and April 30 ( Bureau of Labor Statistics, 2020 ), effectively this is an unemployment rate of 18%. By contrast, in February 2020, the US unemployment rate was 3.5% ( Bureau of Labor Statistics, 2020 ).

Clearly, COVID-19 has had an enormous disruption on work and workers, most critically for those who have lost their employment. But, even for those continuing to work, there have been disruptions in where people work, with whom they work, what they do, and how much they earn. And, as of this writing, it is also a time of great uncertainty, as countries are slowly trying to ease restrictions to allow people to go back to work--- in a “new normal”, without the ability to predict if they can prevent further infectious “spikes”. The anxieties about not knowing what is coming, when it will end, or what work will entail led us to develop this set of essays about future research on COVID-19 and its impact on work and workers.

These essays began with an idea by Associate Editor Jos Akkermans, who noted to me that the global pandemic was creating a set of career shocks for workers. He suggested writing an essay for the Journal . The Journal of Vocational Behavior has not traditionally published essays, but these are such unusual times, and COVID-19 is so relevant to our collective research on work that I thought it was a good idea. I issued an invitation to the Associate Editors to submit a brief (3000 word) essay on the implications of COVID-19 on work and/or workers with an emphasis on research in the area. At the same time, a group of international scholars was coming together to consider the effects of COVID-19 on unemployment in several countries, and I invited that group to contribute an essay, as well ( Blustein et al., 2020 ).

The following are a set of nine thoughtful set of papers on how the COVID-19 could (and perhaps will) affect vocational behavior; they all provide suggestions for future research. Akkermans, Richardson, and Kraimer (2020) explore how the pandemic may be a career shock for many, but also how that may not necessarily be a negative experience. Blustein et al. (2020) focus on global unemployment, also acknowledging the privileged status they have as professors studying these phenomena. Cho examines the effect of the pandemic on micro-boundaries (across domains) as well as across national (macro) boundaries ( Cho, 2020 ). Guan, Deng, and Zhou (2020) drawing from cultural psychology, discuss how cultural orientations shape an individual's response to COVID-19, but also how a national cultural perspective influences collective actions. Kantamneni (2020) emphasized the effects on marginalized populations in the United States, as well as the very real effects of racism for Asians and Asian-Americans in the US. Kramer and Kramer (2020) discuss the impact of the pandemic in the perceptions of various occupations, whether perceptions of “good” and “bad” jobs will change and whether working remotely will permanently change where people will want to work. Restubog, Ocampo, and Wang (2020) also focused on individual's responses to the global crisis, concentrating on emotional regulation as a challenge, with suggestions for better managing the stress surrounding the anxiety of uncertainty. Rudolph and Zacher (2020) cautioned against using a generational lens in research, advocating for a lifespan developmental approach. Spurk and Straub (2020) also review issues related to unemployment, but focus on the impact of COVID-19 specifically on “gig” or flexible work arrangements.

I am grateful for the contributions of these groups of scholars, and proud of their ability to write these. They were able to write constructive essays in a short time frame when they were, themselves, dealing with disruptions at work. Some were home-schooling children, some were worried about an absent partner or a vulnerable loved one, some were struggling with the challenges that Restubog et al. (2020) outlined. I hope the thoughts, suggestions, and recommendations in these essays will help to stimulate productive thought on the effect of COVID-19 on work and workers. And, while, I hope this research spurs to better understand the effects of such shocks on work, I really hope we do not have to cope with such a shock again.

Akkermans J., Richardson J., Kraimer M. The Covid-19 crisis as a career shock: Implications for careers and vocational behavior. Journal of Vocational Behavior. 2020; 119 [ PMC free article ] [ PubMed ] [ Google Scholar ]
Blustein D.L., Duffy R., Ferreira J.A., Cohen-Scali V., Cinamon R.G., Allan B.A. Unemployment in the time of COVID-19: A research agenda. Journal of Vocational Behavior. 2020; 119 [ PMC free article ] [ PubMed ] [ Google Scholar ]
Bureau of Labor Statistics (2020). Labor Force Statistics from the Current Population Survey. Retrieved May 6, 2020 from https://data.bls.gov/cgi-bin/surveymost .
Cho E. Examining boundaries to understand the impact of COVID-19 on vocational behaviors. Journal of Vocational Behavior. 2020; 119 [ PMC free article ] [ PubMed ] [ Google Scholar ]
Guan Y., Deng H., Zhou X. Understanding the impact of the COVID-19 pandemic on career development: Insights from cultural psychology. Journal of Vocational Behavior. 2020; 119 [ PMC free article ] [ PubMed ] [ Google Scholar ]
Johns Hopkins (2020) Coronavirus Outbreak Mapped: Retrieved May 5, 2020 from https://coronavirus.jhu.edu/map.html .
International Labor Organization ILO monitor: COVID-19 and the world of work. Third edition updated estimates and analysis. 2020. https://www.ilo.org/wcmsp5/groups/public/@dgreports/@dcomm/documents/briefingnote/wcms_743146.pdf Retrieved May 5, 2020 from:
International Labor Organization (2020b) COVID-19 impact on the collection of labour market statistics. Retrieved May 6, 2020 from: https://ilostat.ilo.org .
Kantamneni, N. (2020). The impact of the COVID-19 pandemic on marginalized populations in the United States: A research agenda. Journal of Vocational Behavior, 119 . [ PMC free article ] [ PubMed ]
Kramer A., Kramer K.Z. The potential impact of the Covid-19 pandemic on occupational status, work from home, and occupational mobility. Journal of Vocational Behavior. 2020; 119 [ PMC free article ] [ PubMed ] [ Google Scholar ]
Leitheiser, E., Hossain, S.N., Shuvro, S., Tasnim, G., Moon, J., Knudsen, J.S., & Rahman, S. (2020). Early impacts of coronavirus on Bangladesh apparel supply chains. https://www.cbs.dk/files/cbs.dk/risc_report_-_impacts_of_coronavirus_on_bangladesh_rmg_1.pdf .
Restubog S.L.D., Ocampo A.C., Wang L. Taking control amidst the Chaos: Emotion regulation during the COVID-19 pandemic. Journal of Vocational Behavior. 2020; 119 [ PMC free article ] [ PubMed ] [ Google Scholar ]
Rudolph C.W., Zacher H. COVID-19 and careers: On the futility of generational explanations. Journal of Vocational Behavior. 2020; 119 [ PMC free article ] [ PubMed ] [ Google Scholar ]
Spurk D., Straub C. Flexible employment relationships and careers in times of the COVID-19 pandemic. Journal of Vocational Behavior. 2020; 119 [ PMC free article ] [ PubMed ] [ Google Scholar ]
World Health Organization (2020). World Health Organization Coronavirus Update. Retrieved May 5, 2020 from: https://www.who.int/emergencies/diseases/novel-coronavirus-2019 .

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COVID-19 photo essay: We’re all in this together

About the author, department of global communications.

The United Nations Department of Global Communications (DGC) promotes global awareness and understanding of the work of the United Nations.

23 June 2020 – The COVID-19 pandemic has demonstrated the interconnected nature of our world – and that no one is safe until everyone is safe. Only by acting in solidarity can communities save lives and overcome the devastating socio-economic impacts of the virus. In partnership with the United Nations, people around the world are showing acts of humanity, inspiring hope for a better future.

Everyone can do something

Rauf Salem, a volunteer, instructs children on the right way to wash their hands, in Sana'a, Yemen. Simple measures, such as maintaining physical distance, washing hands frequently and wearing a mask are imperative if the fight against COVID-19 is to be won. Photo: UNICEF/UNI341697

Creating hope

man with guitar in front of colorful poster

Venezuelan refugee Juan Batista Ramos, 69, plays guitar in front of a mural he painted at the Tancredo Neves temporary shelter in Boa Vista, Brazil to help lift COVID-19 quarantine blues. “Now, everywhere you look you will see a landscape to remind us that there is beauty in the world,” he says. Ramos is among the many artists around the world using the power of culture to inspire hope and solidarity during the pandemic. Photo: UNHCR/Allana Ferreira

Inclusive solutions

woman models a transparent face mask designed to help the hard of hearing

Wendy Schellemans, an education assistant at the Royal Woluwe Institute in Brussels, models a transparent face mask designed to help the hard of hearing. The United Nations and partners are working to ensure that responses to COVID-19 leave no one behind. Photo courtesy of Royal Woluwe Institute

Humanity at its best

woman in protective gear sews face masks

Maryna, a community worker at the Arts Centre for Children and Youth in Chasiv Yar village, Ukraine, makes face masks on a sewing machine donated by the Office of the United Nations High Commissioner for Refugees (UNHCR) and civil society partner, Proliska. She is among the many people around the world who are voluntarily addressing the shortage of masks on the market. Photo: UNHCR/Artem Hetman

Keep future leaders learning

A mother helps her daughter Ange, 8, take classes on television at home in Man, Côte d'Ivoire. Since the COVID-19 pandemic began, caregivers and educators have responded in stride and have been instrumental in finding ways to keep children learning. In Côte d'Ivoire, the United Nations Children’s Fund (UNICEF) partnered with the Ministry of Education on a ‘school at home’ initiative, which includes taping lessons to be aired on national TV and radio. Ange says: “I like to study at home. My mum is a teacher and helps me a lot. Of course, I miss my friends, but I can sleep a bit longer in the morning. Later I want to become a lawyer or judge." Photo: UNICEF/UNI320749

Global solidarity

People in Nigeria’s Lagos State simulate sneezing into their elbows during a coronavirus prevention campaign. Many African countries do not have strong health care systems. “Global solidarity with Africa is an imperative – now and for recovering better,” said United Nations Secretary-General António Guterres. “Ending the pandemic in Africa is essential for ending it across the world.” Photo: UNICEF Nigeria/2020/Ojo

A new way of working

Henri Abued Manzano, a tour guide at the United Nations Information Service (UNIS) in Vienna, speaks from his apartment. COVID-19 upended the way people work, but they can be creative while in quarantine. “We quickly decided that if visitors can’t come to us, we will have to come to them,” says Johanna Kleinert, Chief of the UNIS Visitors Service in Vienna. Photo courtesy of Kevin Kühn

Life goes on

Hundreds of millions of babies are expected to be born during the COVID-19 pandemic. Fionn, son of Chloe O'Doherty and her husband Patrick, is among them. The couple says: “It's all over. We did it. Brought life into the world at a time when everything is so uncertain. The relief and love are palpable. Nothing else matters.” Photo: UNICEF/UNI321984/Bopape

Putting meals on the table

Sudanese refugee Halima, in Tripoli, Libya, says food assistance is making her life better. COVID-19 is exacerbating the existing hunger crisis. Globally, 6 million more people could be pushed into extreme poverty unless the international community acts now. United Nations aid agencies are appealing for more funding to reach vulnerable populations. Photo: UNHCR

Supporting the frontlines

woman handing down box from airplane to WFP employee

The United Nations Air Service, run by the World Food Programme (WFP), distributes protective gear donated by the Jack Ma Foundation and Alibaba Group, in Somalia. The United Nations is using its supply chain capacity to rapidly move badly needed personal protective equipment, such as medical masks, gloves, gowns and face-shields to the frontline of the battle against COVID-19. Photo: WFP/Jama Hassan

S7-Episode 2: Bringing Health to the World

“You see, we're not doing this work to make ourselves feel better. That sort of conventional notion of what a do-gooder is. We're doing this work because we are totally convinced that it's not necessary in today's wealthy world for so many people to be experiencing discomfort, for so many people to be experiencing hardship, for so many people to have their lives and their livelihoods imperiled.”

Dr. David Nabarro has dedicated his life to global health. After a long career that’s taken him from the horrors of war torn Iraq, to the devastating aftermath of the Indian Ocean tsunami, he is still spurred to action by the tremendous inequalities in global access to medical care.

“The thing that keeps me awake most at night is the rampant inequities in our world…We see an awful lot of needless suffering.”

:: David Nabarro interviewed by Melissa Fleming

Ballet Manguinhos resumes performing after a COVID-19 hiatus with “Woman: Power and Resistance”. Photo courtesy Ana Silva/Ballet Manguinhos

Brazilian ballet pirouettes during pandemic

Ballet Manguinhos, named for its favela in Rio de Janeiro, returns to the stage after a long absence during the COVID-19 pandemic. It counts 250 children and teenagers from the favela as its performers. The ballet group provides social support in a community where poverty, hunger and teen pregnancy are constant issues.

Nazira Inoyatova is a radio host and the creative/programme director at Avtoradio FM 102.0 in Tashkent, Uzbekistan. Photo courtesy Azamat Abbasov

Radio journalist gives the facts on COVID-19 in Uzbekistan

The pandemic has put many people to the test, and journalists are no exception. Coronavirus has waged war not only against people's lives and well-being but has also spawned countless hoaxes and scientific falsehoods.

Friday essay: ‘I know my ache is not your pain’ – disabled writers imagine a healthier world

Creative Writing Lecturer, The University of Melbourne

Disclosure statement

Andy Jackson received funding from RMIT University under their Writing the Future of Health Fellowship.

University of Melbourne provides funding as a founding partner of The Conversation AU.

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There are many reasons why I shouldn’t be here. If you’d shown my ten-year-old self my life as it is now, he’d have been stunned, mostly because he half-expected an early death. My father, who had Marfan Syndrome , the genetic condition I have, died when he was in his mid-40s, when I was two, and the conventional medical wisdom of the time was that this was normal, almost expected.

Marfan is known as a “disorder of connective tissue”, meaning numerous systems of the body can be affected – the connective tissue of the heart, joints, eyes are liable to strain or tear. In my teens, I had multiple spinal surgeries, but there was always the spectre of sudden aortic dissection: a potentially life-threatening tear in the aorta, the body’s largest blood vessel. Like walking around under a storm cloud, never knowing if or when the lightning would strike.

If you’d shown my 20-year-old self my life now, he’d have said, well, I’m not disabled, not really, I mean, I’m not disadvantaged by my body, there’d be other people who really are. At that age, I felt profoundly stigmatised, faltering under the weight of other people’s intrusive attention, a different kind of lightning, that kept striking.

My sense back then was that disability was about impairment. They use wheelchairs. They’re blind or deaf. They’re intellectually disabled. Not me. I just had a differently shaped body, which was other people’s problem, not mine. As if I could keep those things discreet.

Back then, in the films, television dramas and books I consumed, there were disabled characters, invariably marginal or two-dimensionally pathetic or tragic. Their existence was functional, a resource to be mined. Their bodies were metaphorically monumental, looming over the narrative, yet somehow hollow, without the fullness of agency. I certainly didn’t know any disabled authors.

This is an edited extract of the Association for the Study of Australian Literature Patron’s Lecture, delivered at UniSA Creative’s Finding Australia’s Disabled Authors online symposium on Wednesday 25 September.

Becoming a writer within a community

My 35-year-old self would mostly be surprised at the distance I’ve travelled as a writer. From open mic poetry nights in Fitzroy and Brunswick, via publication in photocopied zines and established literary journals, onto my first book of poems (then more), grants, residencies, a PhD in disability poetics, the Prime Minister’s Literary Award for Poetry – and now teaching creative writing at the University of Melbourne.

These, of course, are only the outward markers. What’s most potent for me is the sense that, in spite of my ongoing sense of dislocation and marginality, I do belong within a net of support and meaning-making.

I’m part of a community of poets and writers. A community of disabled people and people with disabilities, people who know chronic illness, the flux of mental health, who know what it’s like to be othered. I also live as a non-Indigenous person on Dja Dja Wurrung country, whose elders have cared for their land, kept culture alive, and resisted colonisation and its brutal extractions.

An awareness of where we are situated, a felt sense of relationship with others like and unlike us, a consciousness of the histories and political forces that shape us, a hunch that our woundedness is not separate from the woundedness of the entire biosphere: none of this just happens automatically, though it emerges from a very subtle inner resonance.

It has to be attended to, nurtured with curiosity and empathy, within a community. Because disability – as a socially-constructed reality, and as an identity that is claimed – is not essentially a category, but a centre of gravity every body is drawn towards.

This may not be the conception of disability you’re used to.

Disability as human experience

The social model of disability is the idea that what makes someone disabled are the social, political, medical, institutional, architectural and cultural forces and structures. Stairs (for people using wheelchairs) and stares (for those who look, or move, or talk in a non-normative way, where normal is a kind of Platonic abstraction of what humans ought to be).

But disability is also a fundamental aspect of human experience, with its own magnetism or impersonal charisma. Disability is an unavoidable bedrock of being alive.

There is a tension here, of course. Between disability as a dimension of discrimination, which creates barriers we want to dismantle, and disability as an inherent aspect of an embodiment that is precarious, mortal and relational.

I am here because some of the barriers that impeded me have been, if not removed, then softened, weakened. Shame, stigma, an internalised sense of being less-than, abnormal, sub-normal: these things are being slowly eroded. Not, fundamentally, through any great effort on my part, but through the accumulated efforts and energies of communities that have gone before me, and that exist around me.

How can we best flourish?

In late 2021, the Health Transformation Lab at RMIT University announced their Writing the Future of Health Fellowship . The successful writer would be paid for six months to work on a project of their choice. The call for applications emphasised innovation, creativity and collaboration. It invited a Melbourne writer to address the question: what does the future of health look like?

I proposed a collaboration: an anthology of poems, essays and hybrid pieces by disabled writers. It will be published next week, as Raging Grace: Australian Writers Speak Out on Disability .

I applied for the fellowship less than a year after the devastations of Australia’s Black Summer bushfires of 2019. Loss of lives, homes and livelihoods. Billions of animals dead or displaced. Smoke blanketed the sky and the trauma of it blanketed our lives. Then came COVID-19, which would kill millions worldwide. Its overwhelming burden was on poor and disabled bodies.

In Australia, 2020 was the year of lockdowns, social distancing and mask mandates, then vaccination, hope, resentment, disinformation, fear, fatigue. Quite quickly, it seems in retrospect, the talk was of “opening up”, “learning to live with it”. “The new normal” switched to “back to normal”. Everything felt scorched, fraught, ready to ignite again.

Those of us with experience of disability, neurodivergent people, those who live with chronic illness, depression, anxiety, trauma (I could go on) – we have unique and profound expertise on what health actually is, in the deepest sense, and what kind of environments allow us to survive and flourish.

The future of health, for all of us, I felt, depended on the health systems and the wider society being diagnosed by disabled people. It depended on us being integrally involved in imagining genuinely therapeutic futures.

‘An almost utopian daydream’

My fellowship pitch was an almost utopian daydream: collective empowerment and imagination in an era of crisis, precarity and isolation. What the project required was a community: diverse and open to each other.

I wanted a range of personal and bodily experiences, places of residence, cultural backgrounds, genders, sexualities and ages. In the end, a collective of 23 writers coalesced – poets, essayists, memoirists, thinkers, activists and community workers, but, above all, writers.

All of us in this project have first-hand experience of disability, neurodivergence, chronic pain and/or mental illness. The labels mean something, but we’re much larger than them. Men, women, non-binary folk; people of varying ages and cultural backgrounds, some First Nations, most not; queer, straight, cis, not; shy, vociferous, uncertain, confident, tired, in flux. People from many different corners of this continent.

Throughout 2022, we met in person and online. I called these meetings “workshops”. We looked at poems and essays together, thinking through the music and the bodily energies of the language. But these were really conversations: minimally guided, intensely honest and free-flowing conversations about what we have experienced, and what we know about how society creates and exacerbates disability.

We diagnosed the systems (health, bureaucratic, economic), and daydreamed utopian and practical therapeutic futures. In the process, across our diverse experiences, resonances and affinities sparked. Two people (or sometimes three or more) would begin to wonder what it might be like to write together with another particular person, around a certain theme or idea.

We wrote about the wild liberation of wheelchairs, the claustrophobia of shopping centres, the dehumanising tendencies of hospitals. We riffed on shame, ambivalence, love and sensitivity. We speculated about a future where consultancies run by people with autism and disability would help non-disabled people amplify their otherness, rather than the other way round. We interrogated the history and future of medical research. We thought together about racism, misogyny and eugenics. We sat beneath trees.

Sensitive listening and speaking

Every collaboration, for us, was a painstaking exercise in listening and speaking. This unpredictable, uncontrollable, expansive process determined both the process and the outcome. It was shaped by the energies each writer brought to the encounter, which were in turn shaped by preoccupations, traumas, aspirations, sensitivities, aesthetic inclinations and curiosities.

The most subtle, unforced collaborations sometimes resulted in poems in one coherent voice. The most intense, difficult collaborations sometimes led to two-column poems, with stark white space between them. This is as it should be. In any conversation, a burgeoning intimacy often makes our differences both more apparent, more significant, and yet also a little less obstructive.

I know my ache is not your pain, which is not their suffering. Why do I think myself alone? I am trying to quieten this murmur in my bones, so I can listen. – Gemma Mahadeo & Andy Jackson, from the poem Awry

In one collaboration, thinking of a spine that is not straight and a sexuality that is not straight, thinking of how we navigate public spaces differently and yet similarly, we each wrote a few lines of poetry each, until we had what felt like an entire poem. We then embarked on a process of editing, each time removing those elements of the piece that made it seem like two distinct voices. Our voices almost merged.

I extend my hand-cane hybrid towards the ground in front of me like a diviner – this path, this body, not the only crooked things… We yearn for the possibilities of another city, another body as we fall, knee-first onto the blunt fact of queer promise. – Bron Bateman & Andy Jackson from the poem Betrayal

In another collaboration, I was aware the other writer had experienced traumatic abuse, so I soon felt that when writing together – in a way that would not just be respectful but useful, for us both and for the poem – our voices would have to be distinct.

To dominate or erase another’s words, even with good intentions or under some pretence of “improving the poem”, would have been precipitous ground. The poem we ended up writing together was composed of two parallel voices, two wings. The air around them, and between us, held us up.

Assure child they are not at fault. Refuse to be absolved of blame. Find the subliminal rhymes. Broken as open. Other as wisdom.

– Leah Robertson & Andy Jackson, from the poem Debris

Rigour and care

Each collaboration had its own particular questions and dilemmas. Each one required rigour and care, patience and courage. There were many awkward little stumbles and pauses. Yet the process was also profoundly liberating. It felt like someone had opened a window, so that a stifling room finally had air and outlook.

My sense, too, was that with the windows flung open, those outside our world could see in, might begin to more deeply appreciate the innumerable ways bodies are marginalised. That readers of all kinds would see their own predicaments connected to ours. Disability as one dimension of injustice, a dimension that reminds us of the ground we share, flesh and earth. Disability as gravitational force.

There is something in the collective political and social atmosphere that suggests collaboration, working together, especially with people outside our usual circle, is either anathema or too difficult.

Think of any of the crises that are front of mind at the moment – the dialogue around the Voice referendum and the fallout from its defeat , the fraught process of ensuring a just transition away from fossil fuels , the long histories and cycles of war and revenge across the globe. You could even include your own intimate cul-de-sacs of unresolved conflict.

Corporate tech algorithms amplify our tribal attachments, assume and encourage our binarism, our quick, unthinking reactions. The blinkers are on, and are being tightened.

This is not, to state the obvious, desirable or in any way sustainable. Perhaps this is why, in the last five to ten years, there has been an increasing number of collaborative writing projects. Against the tide of hesitation and mistrust, a felt need to work together, within and across identities.

I’m thinking of Woven , the anthology of collaborative poetry by First Nations writers from here and other lands, edited by Anne Marie Te Whiu. John Kinsella’s careful and ethical collaborative experiments with Charmaine Papertalk-Green, Kwame Dawes and Thurston Moore.

Then there’s Audrey Molloy and Anthony Lawrence’s intensely lyrical and sensitive conversation in Ordinary Time . And Ken Bolton and Peter Bakowski’s four recent collaborative books , which contain an array of darkly humorous fictional and fictionalised characters. This is only the poetic tip of the iceberg of recent collaborations.

Writers are one group of people who are tuning in to the need to go beyond the isolation or echo chambers. They know that the stories we are told – the need to be self-reliant and independent, the impetus to be suspicious of the other, or even that sense of inferiority that makes us feel disqualified from contributing – aren’t carved in stone. Or if they are, the persistent drip and flow of water can do its liberatory, erosive (and constructive) work.

We have, after all, only survived as a species and as communities through collaboration and mutual support.

Of course, we know there are countless collaborations currently being orchestrated by malicious agents: fascists, racists, misogynists, cynical corporate shills astroturfing against essential urgent climate action, even (to some degree) the reflexive social-media pile-ons. People are always working together in some way, deeply connected and inter-responsive. Collaboration in itself is not some utopian panacea.

Disabled collaboration

So I want to suggest that only a particular kind of collaboration can be properly transformative, humanising and grounding. It’s a collaboration of deep attentiveness and mutual exposure: a way of being together in which we set our certainties and fears aside, to be present to the other, to allow the other to be themselves, and to be open to the otherness in ourselves, an encounter which sensitises us to the complexities and bodiliness of injustice.

Let’s call it disabled collaboration.

Let me explain. As a disabled person, you are constrained, walled out of important social spaces: there are only steps into the workplace, the performance isn’t translated, or the shop is non-negotiable sensory overload. Even if you do manage to enter these spaces, it is made clear to you that you don’t really belong. They might stare at you, or signal their discomfort with silence or overcompensation. (And, yes, the shift to second-person is deliberate.)

Unless you give up – and which of us would not admit to giving up sometimes, or in some part of ourselves? – you spend a lot of energy proposing, asking, suggesting, pleading, demanding. You know what you need to be able to live a life of nourishment, connection, pleasure. You speak, in your own voice, out of your particular situation, from across the barriers.

Perhaps disability is really essentially about this giving voice. About constantly having to express what is unheard – or perhaps sometimes unhearable – by the broader society.

This isn’t about transmitting thoughts or ideas. This is essentially a cry for connection, for help. For solidarity, allyship, change. What you’re after is collaboration: two or more people bringing their resources to bear upon a human situation, which may have fallen heavily on one person, but hovers over us all. Disabled people know this territory intimately. We regularly share much-needed information, resources, concern and time with each other.

This kind of collaboration, by definition, cannot assume an equality of voice, mode of operation or capacity. It is predicated on learning about difference and then responding to it: whether through listening, care work, protest or support.

This collaboration acknowledges and resists disadvantage, isolation and enforced voicelessness. It’s the kind of orientation towards another person that, I want to suggest, is exactly what might help us respond properly to the multiple, intersecting crises we find ourselves in.

It’s a listening not only to the concerns and experiences of the other, but an ambition to adapt to their particular way of expressing themselves.

To be clear, I’m not saying disabled people have any special talent for collaboration. We can be as bitter, isolationist, selfish or stubborn as any non-disabled person. In fact, there are aspects to being disabled that can encourage suspicion towards others, a scepticism that at times affords you the space to assess risk.

Can I trust this person with my needs, my life? It’s a caution that is understandable, and useful, but it can also keep us isolated. The cycle of othering depends on those othered doing some of the work, thinking this is all I deserve , or the perpetual doubtful thought of “maybe next time”.

On top of that, there are intersections of injustice that are particularly resistant. They don’t dissolve in the presence of collaboration, but require immense effort to shift.

In facilitating this project, I found that the most stubborn dividing factors were class and race. There are individualist, neoliberal dynamics at the core of funding guidelines and in our lives generally. Writing and publishing remain fields still dominated by white, middle-class connections and aesthetics.

When we sit down to write or work together, these things do not disappear. When writers are paid for their work, it does not mean the same thing for each person.

Throughout this project, I have asked myself a number of questions. How do I, as a funding recipient, ensure that my collaborators are not exploited or taken for granted? What assumptions do I carry, invisibly, about the merits of particular voices? Should I step back to give more space to Indigenous writers, culturally and linguistically diverse writers, queer writers? How do we speak together within a poem or essay in a way that reaffirms common cause without diminishing the very real differences?

These difficult questions have not been resolved. Still, their intractability really only reinforces my wider point. We need to engage together in a way that is predicated on difference, exposure, vulnerability and mutual support. If disability is the imprint or shadow of bodily injustice, then collaborating in a disabled way, consciously, can radically expand our understanding of our shared predicament.

What happens within the process of disabled collaboration is akin to the words in Sarah Stivens and Jasper Peach’s poem, Crack & Burn:

Different bodies with the same fears, different aches with the same stories Our brains tell us that we’re alone, but we know not to believe them … When we gather in numbers it’s impossible to feel less than because all I see – everywhere I look – is raging grace and powerful repose.

The experience foreshadows, in a small but potent way, the future we wish to live in.

What might disabled collaboration achieve? The poem Coalescent, written by Beau Windon, myself, Michèle Saint-Yves, Robin M Eames and Ruby Hillsmith, suggests a hopeful answer:

overturning the old regime of normalcy for something strange / / something glorious / / something new

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