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No more lost-tampon essays, in other words, in the age of Donald Trump. And yet I find myself missing aspects of the personal-essay Internet that the flashiest examples tended to obscure. I still think of the form as a valuable on-ramp, an immediate and vivid indication of a writer’s instincts—one that is accessible to first-time writers and young people who haven’t developed experience or connections. The Internet made the personal essay worse, as it does for most things. But I am moved by the negotiation of vulnerability. I never got tired of coming across a writerly style that seemed to exist for no good reason. I loved watching people try to figure out if they had something to say.

By that point, writers, editors, and readers had become suspicious of one another, and the factors that produced the personal-essay boom had started to give way. Some of the online publishers that survive have shifted to video and sponsored posts and Facebook partnerships to shore up revenue. Aggregation and op-eds——continue to thrive, although the takes have perhaps cooled a bit. Personal essays have evidently been deemed not worth the trouble. Even those of us who like the genre aren’t generally mourning its sudden disappearance from the mainstream of the Internet. “First-person writing should not be cheap, and it should not be written or edited quickly,” Gould wrote to me. “And it should be published in a way that protects writers rather than hanging them out to dry on the most-emailed list.”

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Sarah Hepola, who worked as Salon’s personal-essay editor, described the situation to me in an e-mail. “The boom in personal essays—at Salon, at least, but I suspect other places—was in part a response to an online climate where more content was needed at the exact moment budgets were being slashed.” When I worked as an editor at the Hairpin and Jezebel, from 2013 to 2016, I saw up close how friendly editors and ready audiences could implicitly encourage writers to submit these pieces in droves. For the first two years that I edited personal essays, I received at least a hundred first-person pitches and pieces each week.

But an ad-based publishing model built around maximizing page views quickly and cheaply creates uncomfortable incentives for writers, editors, and readers alike. Attention flows naturally to the outrageous, the harrowing, the intimate, and the recognizable, and the online personal essay began to harden into a form defined by identity and adversity—not in spite of how tricky it is to negotiate those matters in front of a crowd but precisely because of that fact. The commodification of personal experience was also women’s territory: the small budgets of popular women-focussed Web sites, and the rapidly changing conventions and constrictions surrounding women’s lives, . And so many women wrote about the most difficult things that had ever happened to them and received not much in return. Most sites paid a few hundred dollars for such pieces at most; xoJane paid fifty dollars. When I began writing on the Internet, I wrote personal essays for free.

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What happened? To answer that, it helps to consider what gave rise to the personal essay’s ubiquity in the first place. Around 2008, several factors converged. In preceding years, private blogs and social platforms—LiveJournal, Blogspot, Facebook—trained people to write about their personal lives at length and in public. As Silvia Killingsworth, who was previously the managing editor of The New Yorker and took over the Awl and the Hairpin last year, put it to me, “People love to talk about themselves, and they were given a platform and no rules.” Then the invisible hand of the page-view economy gave them a push: Web sites generated ad revenue in direct proportion to how many “eyeballs” could be attracted to their offerings, and editorial budgets had contracted in the wake of the recession. The forms that became increasingly common—flashy personal essays, op-eds, and news aggregation—were those that could attract viral audiences on the cheap.

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The second amendment says, "A well regulated militia being necessary to security of a free state, the right of the people to keep and bear arms shall not be infringed." The second amendment was made for two things.

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For some writers, these essays led to better-paying work. But for many the thrill of reaching an audience had to suffice. And placing a delicate part of your life in the hands of strangers didn’t always turn out to be so thrilling. Personal essays cry out for identification and connection; what their authors often got was distancing and shame. Bennett pegged her Slate piece to an essay that Carmichael and I edited at Jezebel, written by a woman who had met her father for the first time as a teen-ager and engaged, under emotional coercion, in a brief sexual relationship with him. Bennett deemed the personal-essay economy a “dangerous force for the people who participate in it.”

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This I Believe is an international organization engaging people in writing and sharing essays describing the core values that guide their daily lives. Over 125,000 of these essays, written by people from all walks of life, have been archived here on our website, heard on public radio, chronicled through our books, and featured in weekly podcasts. The project is based on the popular 1950s radio series of the same name hosted by Edward R. Murrow.

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