Denver  /  Essays  /  Prompt 1

Denver: Common App Personal Statement

650 words maximum (this is one of seven Common App prompts; you may choose any of them)

Some students have a background, identity, interest, or talent that is so meaningful they believe their application would be incomplete without it. If this sounds like you, then please share your story.
What it’s really asking

University of Denver requires no DU-specific supplemental essay for first-year Common App applicants. Your one required essay is the Common App personal statement, 250 to 650 words, and you may answer any of the seven official prompts (we show Prompt 1 here as an example). DU reads this essay for admission and for merit aid. Note: certain programs such as the Lamont School of Music or BFA art tracks have their own separate portfolio or supplemental requirements.

Why they ask it

Because there is no second essay and DU is test-optional, this single statement is the main way readers learn who you are beyond grades. They are listening for a real voice, genuine reflection, and signs of the curiosity and character that fit Denver's student-centered culture.

Three ways in
Start from an object

Find one small, recurring object or ritual in your life (a tool, a recipe, a route you walk) and trace what it reveals about how you think.

Follow the unassigned interest

Name a passion you pursue when no one is grading it, then show the exact moment you got pulled deeper into it.

Dramatize your background

Identify a piece of your identity or upbringing that quietly shapes your decisions, and write one scene where it visibly mattered.

✕  Weak opening

“Ever since I was a little kid, I have always been passionate about helping others and pushing myself to be the best version of myself.”

✓  Strong opening

“My grandmother labels her spice jars in three languages, and not one of them agrees with the others.”

✦ Annotated example · The Repair Bench. Written by EssayLens to teach, not a real applicant’s essay. Tap a highlighted line →
My grandfather kept a coffee can of dead batteries on his workbench, and for years I thought it was the saddest object in our house. He could not throw anything away. Springs, doorknobs, the cracked face of a wristwatch, a single roller skate. When he died, my mother started bagging it all for the dump, and I asked if I could keep the bench instead.1I did not know how to fix anything. I knew how to want things fixed, which is different. So I started with the easiest item in the can, a flashlight, and spent an embarrassing afternoon discovering that I had installed the batteries backwards. When the bulb finally lit, I laughed alone in the garage like I had invented electricity.That flashlight became a habit. I taught myself to solder from videos paused frame by frame, burning my thumb often enough that the callus is still there. I rewired a lamp, replaced the heating element in a toaster, and brought a neighbor's record player back from silence. None of it was elegant. My early solder joints looked like gray bubblegum. But things that had been declared dead were, with patience, simply not dead.2What surprised me was how the repairing changed the way I looked at people. I have a younger brother, Theo, who was diagnosed with a stutter in third grade and decided, around the same time, that he was stupid. Those two facts were not related, but in his head they had been soldered together. Adults kept trying to fix his speech. I started, instead, just talking with him at the bench, handing him a screwdriver, letting silences sit until they were ordinary.We took apart an old radio together over a whole winter. He did not stop stuttering. That was never the point, and I am glad I figured that out before I made him another project to complete. What changed was that he stopped apologizing for the time his sentences took. He learned, I think, that a slow process and a broken thing are not the same, even though both make impatient people leave the room.3I am not going to pretend the bench taught me everything. I still rush things. I once cracked a phone screen trying to skip the part of a guide that said wait for the adhesive to set. But I have come to trust processes that resist being hurried, and to distrust the version of myself that wants every problem solved by Tuesday.I want to study mechanical engineering, and I know how that sounds next to a story about a coffee can. But the connection is the whole point for me. Engineering, the real kind, is mostly the patience to figure out why something failed before you decide it is worthless. I keep reading about the design and innovation labs at Denver, and the makerspace where students prototype badly and often, and I think: that is my grandfather's bench, made bigger and given good lighting.4I still have the coffee can. Most of the batteries really were dead, and I finally recycled them. But I kept three, taped to the inside of my desk drawer, as a reminder of the afternoon I put them in backwards. I would like to spend the next four years, and probably the rest of my life, getting the polarity right on harder and harder things.5
  1. 1Opens on a concrete, slightly odd image instead of a thesis. The coffee can of dead batteries is specific enough to feel real, and it sets up the central object (the bench) without announcing its meaning yet.
  2. 2Reflection over event: rather than just listing repairs, the applicant draws meaning (dead versus 'simply not dead'). The self-deprecating detail (gray bubblegum joints) keeps the voice undisguised and honest rather than triumphant.
  3. 3This is the emotional and intellectual core. The applicant resists the tidy redemption arc (Theo does not get 'cured') and lands on a genuine, earned distinction. That refusal to fake a happy ending is exactly the reflection DU rewards.
  4. 4Evidence you will use the place: names a specific DU resource (makerspace, prototyping culture) and ties it directly back to the essay's controlling image. The callback to the bench makes the fit feel organic, not bolted on.
  5. 5Closes by returning to the opening image (the batteries) and converting it into a forward-looking metaphor without overexplaining. 'Getting the polarity right' is a quiet, voice-driven ending that earns its sentiment.
Stuck? Start here
  • What is one small object, place, or routine in my life that I could describe so specifically a stranger would picture it instantly?
  • When was the last time I changed my mind about something I was sure of, and what actually caused it?
  • If a reader finished my essay knowing only one true thing about me, what would I most want that thing to be?
Before you submit
  • Did I resist adding a 'Why DU' paragraph, since none is required, and spend those words on myself instead?
  • Does my essay end closer to a reflection or insight than to a plot summary of what happened?
  • Read aloud, does this sound like me talking, with no sentence I would be embarrassed to say out loud?

Drafted it? Get an honest, admissions-style read, free.

Score my essay