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Email

The Leaving Email

📂 Work, Transitions, And Saying Goodbye To Colleagues 🎭 What We Say When We Leave A Job, And What We Leave Out ⏱ 20–55 min
About this text
🎯 Learning objectives
  • Students can read a goodbye email and understand who it is from, who it is to, and why it has been sent.
  • Students can recognise the conventions of professional written English (greetings, sign-offs, polite formulas).
  • Students can describe a job they have done or imagined, including duties, colleagues, and what they learned.
  • Students can write a short, appropriate email at their level, choosing the right register for the reader.
  • Students can identify the difference between what a writer says directly and what is suggested or left out.
  • Students can discuss the social rituals around leaving a job and how they vary by culture and workplace.
  • Students can use the past simple, present perfect, and 'going to' future to describe work experience and next steps.
💡 Ideas for using this in a lesson
  • Students read the email at their level and underline every phrase that is part of the 'goodbye email' formula (e.g., 'It has been a pleasure', 'Please stay in touch', 'I have learned so much').
  • Vocabulary work: students collect every word the writer uses for colleagues (team, manager, the people in marketing) and discuss the small differences in tone.
  • Cultural sharing: 'In your country, do people send a leaving email or do they say goodbye in a different way? Is there a leaving party? A speech?' Students share in small groups.
  • Pair role-play (A2+): one student is leaving the company. The other is a colleague who comes to their desk for a final chat. Practise the small talk and the goodbye.
  • Writing task: students write their own goodbye email — from a real or imagined job — at their level. Younger learners can write three sentences; higher levels can write a full message.
  • Discussion (B1+): 'Is the leaving email an honest piece of writing, or is it a polite performance? Can it be both?' Encourage students to take a position.
  • Register comparison: students rewrite one paragraph of the email to (a) a close work friend in a private message and (b) the senior management. Discuss what changes.
  • Critical reading (B2+): students identify what the writer chooses NOT to say. Why might a person leaving a job omit certain things, and what is the cost of omitting them?
  • Pair work: students interview each other about a job (real or imagined). What did you do? What did you like? What was hard? Use the answers as raw material for a goodbye email.
  • Reflective task (C1+): students write a 'goodbye email I could not send' — the more honest version of the message. They are not asked to share unless they choose to.
🏷️ Context
Low ResourcePairworkGroupworkDiscussionWork RelatedWriting PracticeRegister AwarenessEveryday TopicSpeaking PracticeWorks Anywhere
📦 Materials needed
Paper And Pen
⚠️ Some students will not have had a paid job, especially younger learners or those from contexts where students do not work alongside study. Make it clear from the start that a job can be imagined, can be unpaid, or can be a school or volunteer role. The topic is mostly light, but at higher levels the discussion touches on workplace power, what people leave unsaid for professional reasons, and the small dishonesties of formal communication. Be careful with the phrase 'first job', which assumes a particular career path; let students adapt the topic to their own situation. Avoid pressing students to share anything negative about real workplaces or colleagues.
⏱ Duration by level
A1
20 min
A2
25 min
B1
35 min
B2
45 min
C1
50 min
C2
55 min
🎚️ Differentiation tip
At A1 and A2, focus on the conventions: 'Hi everyone', 'Thank you for', 'Please keep in touch', 'Best wishes'. Three or four sentences in their own email is plenty. At B1 and B2, ask for two or three paragraphs that include a memory, a thank-you to a specific person, and a small piece of honest feeling. At C1 and C2, the assignment shifts: students should be able to discuss the email as a piece of professional rhetoric, and write their own version that is aware of the form. If students have no work experience, let them write from the position of leaving a sports team, a school, a volunteer group, or a fictional job. The form translates.
🌍 Cultural note
The goodbye email is a particular feature of office culture in English-speaking countries — and increasingly common in international workplaces, especially in tech, finance, and consulting. In some cultures, leaving a job is marked by a meal, a small gift, a speech, or a quiet handshake rather than a written message. In other cultures, a public announcement of leaving is unusual or considered immodest. Students may find the genre strange, or may know it well from international companies in their own country. Treat the form as one cultural option among several, not as a universal practice. Make space in discussion for students to describe how leaving is marked at home.
Beginner
Intermediate
Advanced
Duration: 20 min 🎯 Focus: Simple present and present continuous; basic email greetings and sign-offs ('Hi everyone', 'Thank you', 'Best wishes'); 'going to' future; possessive 's.
Before You Read / Listen
  • Q1Do you have a job? What is it?
  • Q2Who is your favourite person at work or at school?
  • Q3Have you said goodbye to a friend before? How did you feel?
  • Q4Do you write emails? In English or in another language?
  • Q5What do you write at the start of an email?
The Text
Subject Goodbye!
Hi everyone,
Today is my last day. Friday is my last day.
I am sad. I am happy too. I am going to a new job in London next month.
Thank you very much. You are a great team. I am going to miss you.
Thank you to Sara. Sara is my manager. She is very kind.
Thank you to Tom. He helps me every day with my computer.
Please keep in touch. My new email is sam.j@email.com.
Best wishes,
Sam
Key Vocabulary
goodbye noun
what you say when you leave
"Goodbye! See you tomorrow."
last adjective
the final one; coming after all the others
"Friday is my last day."
team noun
a group of people who work together
"I love my team."
manager noun
the person who is the boss of a team at work
"My manager is very kind."
miss verb
feel sad because someone is not here
"I will miss my friends."
kind adjective
nice; good to other people
"She is kind to everyone."
help verb
do something good for another person
"Tom helps me every day."
keep in touch phrase
stay in contact; send messages to a friend
"Please keep in touch with me."
best wishes phrase
a friendly way to end an email
"Best wishes, Sam."
Questions
Comprehension
  • Who is the email from?
    Answer
    Sam.
  • When is Sam's last day?
    Answer
    Friday.
  • Where is Sam going?
    Answer
    To a new job in London.
  • Who is Sara?
    Answer
    Sara is Sam's manager. Sam says she is very kind.
  • What does Tom help Sam with?
    Answer
    Tom helps Sam every day with the computer.
  • What is Sam's new email address?
    Answer
    sam.j@email.com
Vocabulary
  • What does 'team' mean?
    Answer
    A group of people who work together.
  • What does 'miss' mean here? 'I am going to miss you.'
    Answer
    Feel sad because the person is not here. Sam will be sad because Sam will not see the team every day.
  • What is a 'manager'?
    Answer
    The person who is the boss of a team at work.
Personal
  • Have you said goodbye to a class or a job?
    Teacher guidance
    Students' own answers. Common answers: 'yes, when I changed school' or 'yes, last summer at my job'. Some students will say no — accept this and move on. If they have not, ask: how do you think it feels?
  • Who would you say thank you to in your school or your job?
    Teacher guidance
    Students' own answers. Listen for specific names — a teacher, a friend, a coach. At this level, simple sentences are fine: 'Thank you to my teacher Maria. She helps me.'
Discussion
  • Is it good to send an email when you leave a job?
    Discussion prompts
    Prompts for discussion: Side A — yes, you say goodbye to everyone. It is polite. Side B — no, you can say goodbye in person. Email is too formal. Real answer: many people send an email AND say goodbye in person. Both are good.
Writing Task
Prompt
Write a short goodbye email (three or four sentences). It can be from a real or imagined job. Start with 'Hi everyone' and end with 'Best wishes' and your name.
Model Answer

Subject: Goodbye!

Hi everyone,

Today is my last day. Thank you very much. You are a great team. I am going to miss you. Please keep in touch.

Best wishes,
Maria

Activities
  • In pairs, take turns reading the email aloud. One student is the writer; the other listens.
  • Make a list of all the polite words and phrases in the email (Hi, Thank you, Please, Best wishes).
  • Choose three words from the vocabulary list. Use each word in a new sentence about your school or your job.
  • Pair work: ask your partner 'Who is your manager?' and 'Who helps you?' Answer in simple sentences.
  • Stand up. Practise saying 'Goodbye! Please keep in touch.' Try with five different people in the room.
  • Write three sentences starting with 'Thank you to...' (a teacher, a friend, a family member).
  • Match the words to the meanings in the vocab list. Cover the meanings first; check after.
Duration: 25 min 🎯 Focus: Past simple ('I started in 2023', 'I worked here'); present perfect ('I have learned a lot'); future plans with 'going to'; basic linking words (and, but, because, so); polite formulas.
Before You Read / Listen
  • Q1What was your first job, or what would you like your first job to be?
  • Q2Have you ever changed jobs or schools? How did it feel?
  • Q3What kind of person do you want to work with?
  • Q4Do you write a lot of emails in English at work or at school?
  • Q5What is more difficult — saying goodbye to a person, or to a place?
The Text
Subject Time to say goodbye
Hi everyone,
I'm writing to tell you that Friday is my last day at Brightline. I am leaving the company and starting a new job in London next month.
I started here two years ago, when I was 21. It was my first proper job after university. I didn't know anything about the work, and I was a little scared. But you all helped me. You were patient with me. You laughed with me when I made mistakes. Thank you.
I have learned so much. I have learned how to talk to clients on the phone. I have learned how to write reports. I have learned how to drink very strong coffee at 8 in the morning.
I want to say a big thank you to a few people.
Thank you to Sara, my manager. You always listened. You gave me time when I needed it.
Thank you to Tom, who helped me every time my computer didn't work. (That was every week.)
Thank you to the team in marketing — you are the funniest people in this office and you know it.
I am sad to leave. I am also excited about the new job. Both things are true.
Please stay in touch. My personal email is sam.j@email.com. I am also on LinkedIn — please add me. I would love to hear how you are doing.
Take care, all of you.
With love,
Sam
Key Vocabulary
leaving verb (gerund)
going away from a place or job
"I am leaving the company on Friday."
company noun
a business that sells things or provides a service
"I work for a small company."
proper adjective
real; the right kind of
"It was my first proper job."
patient adjective
able to wait calmly without getting angry
"My teacher is very patient with us."
client noun
a person or company that pays you for your work
"I talk to clients on the phone every day."
report noun
a piece of writing that tells someone about something
"I have to write a report about the project."
excited adjective
feeling happy and full of energy because of something good
"I'm excited about my new job."
stay in touch phrase
keep in contact; continue to send messages
"Please stay in touch when you move."
take care phrase
a friendly way to say goodbye, meaning 'look after yourself'
"Take care, see you soon."
marketing noun
the work of telling people about a product so they buy it
"She works in marketing for a clothes company."
Questions
Comprehension
  • How long has Sam worked at Brightline?
    Answer
    Two years. Sam started when they were 21.
  • Was Brightline Sam's first job?
    Answer
    Yes — Sam says it was their 'first proper job after university'.
  • How did Sam feel at the beginning?
    Answer
    A little scared. Sam didn't know anything about the work.
  • What three things does Sam say they have learned?
    Answer
    How to talk to clients on the phone, how to write reports, and how to drink very strong coffee at 8 in the morning.
  • Who does Sam thank by name?
    Answer
    Sara (the manager), Tom (who helps with computers), and the team in marketing.
  • What does Sam say about Tom's help?
    Answer
    Tom helped Sam every time the computer didn't work — and that was every week.
  • What two feelings does Sam say they have at the same time?
    Answer
    Sad about leaving, and excited about the new job. Sam says 'Both things are true.'
Vocabulary
  • What does 'proper' mean in 'my first proper job'?
    Answer
    Real, the right kind of. Sam means a serious full-time job — not a small part-time job or a job during holidays.
  • What is the difference between 'leave' and 'leaving'?
    Answer
    'Leave' is the basic verb. 'Leaving' is the -ing form, used in continuous tenses ('I am leaving') or as a noun ('a leaving party').
  • What does 'stay in touch' mean? Use it in your own sentence.
    Answer
    It means continue to send messages or contact each other after you stop seeing each other every day. Example: 'I always stay in touch with my old school friends.'
Inference
  • Why does Sam joke about 'drinking very strong coffee at 8 in the morning'?
    Suggested interpretation
    Because mornings at the office were difficult. The joke shows that Sam learned not just work skills but also small daily habits. It also makes the email more friendly and less serious.
  • What kind of company is Brightline? What can we tell?
    Suggested interpretation
    We don't know exactly, but it has clients, reports, marketing, and a small team. It is probably an office company — maybe a service company. The atmosphere sounds friendly and quite informal.
Discussion
  • Is it better to send a goodbye email to everyone, or to talk to people one by one?
    Discussion prompts
    Prompts for discussion: Side A — an email is fast and reaches everyone, even the people you don't see often. Side B — talking in person is more personal and shows you really care. Real answer: many people do both — an email to everyone, plus a personal goodbye to close colleagues. The two are not in competition.
Personal
  • If you wrote a goodbye message to your class or to a job, who would you thank by name?
    Teacher guidance
    Students' own answers. Listen for specific people and specific reasons. 'I would thank my teacher because she always answers my questions' is more useful than 'everyone is nice'. If a student is shy about names, they can describe the person instead.
  • Have you ever felt sad and excited at the same time? When?
    Teacher guidance
    Students' own answers. Common: leaving school, moving house, the end of a holiday, starting university. The mixed feeling is a useful idea to teach because it is very common — accept all answers warmly.
Writing Task
Prompt
Write a short goodbye email (about 10 sentences). It can be from a real or imagined job, school, or sports team. Include: a thank-you to two specific people, one thing you have learned, and your new contact. Use 'I started', 'I have learned', and 'I am going to' if you can.
Model Answer

Subject: Goodbye and thank you

Hi everyone,

This is a short message to say that next Friday is my last day at the café. I started here two years ago, when I was 19. It was my first job and I was a bit scared. You all helped me a lot.

I have learned how to make good coffee, how to speak to difficult customers, and how to be quick on Saturday mornings.

Thank you to Anna, my manager — you taught me everything. Thank you to Marco, who always made me laugh on long shifts.

I am going to study at university in September. I am sad to leave but I am excited too.

Please keep in touch! My email is julia.r@email.com.

Take care,
Julia

Activities
  • In pairs, students take turns to read the email aloud, one paragraph each. Notice the warm but professional tone.
  • Make two lists: things Sam learned at work, and things Sam wants to say to people. Compare in pairs.
  • Role-play: one student is Sam at their desk on the last day. The other is Tom from the IT team, coming to say goodbye. Practise the conversation.
  • Vocabulary game: cover the vocab list. The teacher says a definition. Students call out the word.
  • Sequencing: cut the email into separate paragraphs, mix them up, and have students put them back in the correct order. What is the right order? Why?
  • Mini-writing: write three sentences starting 'When I started, I was...' and three more starting 'Now I am...'. Share with a partner.
  • Reading aloud: practise reading the line 'I am sad to leave. I am also excited about the new job. Both things are true.' Notice how short sentences can be powerful.
  • Find every place in the email where Sam thanks someone or something. Underline these. What patterns do you notice?
Duration: 35 min 🎯 Focus: Past simple and present perfect for work history; modal verbs ('would', 'might', 'should') for politeness; reported speech ('she told me'); cohesion devices ('however', 'in particular', 'as well as'); soft hedging.
Before You Read / Listen
  • Q1What makes a workplace good — the work itself, or the people?
  • Q2Have you ever stayed somewhere longer than you planned because of the people there?
  • Q3Is it difficult to write a message that is friendly and professional at the same time?
  • Q4When someone leaves a job, do you think the email they send is honest, or just polite?
  • Q5What was your best day at work, school, or in any group activity?
The Text
Subject Saying goodbye after two and a bit years
Hi everyone,
I'm writing this from my desk on a Wednesday afternoon, with a cup of tea that has gone cold and a calendar that says I have two days left. Friday is my last day at Brightline. I'm moving to a small company in London called Carver & Co, where I'll be doing something similar but with more responsibility, and probably more meetings.
Two years and three months ago, I walked into this office on my first morning. I was 21. I had just finished university. I didn't know what I was supposed to do, and I had a bag with two notebooks and a sandwich. I want to thank everyone who, in the next few weeks, gently helped me work out the difference between things I should worry about and things I really shouldn't.
Looking back, I realise how many small lessons I picked up here without noticing. I learned how to say 'I don't know yet — I'll come back to you' instead of pretending. I learned how to write an email that wouldn't make a client angry. I learned that the photocopier on the second floor is always broken on Mondays and that you should never, ever ask Tom about his fantasy football team unless you have at least twenty minutes.
There are a few people I want to thank by name.
Sara — you took a chance on me when I was very obviously unsure of myself. You said something to me in my first week — 'You're going to be fine, just slow down' — and I have repeated it to myself many times since. Thank you for being a good manager and a kind one. They are not always the same thing.
Tom — thank you for fixing my laptop more times than I can count. Thank you for never once making me feel stupid about it. The marketing team will not be the same without you teaching the new starters how to make the printer work.
Priya — you became one of my closest friends during the lockdown year, when we used to call each other to complain about working from a small bedroom. I am very glad we did not stop talking when we came back into the office.
Everyone in marketing — you are loud, you are funny, and you are excellent at your jobs. I will miss you.
Of course, I am also a bit sad. I'm not going to pretend otherwise. The first job is a strange thing. You arrive as a slightly overgrown student and you leave as a person who can pay rent and run a meeting. Most of that change happens because of the people around you, not because of anything you do on purpose. I am leaving as a slightly different version of myself, and most of that is your fault, in the best possible way.
Please stay in touch. My personal email is sam.j@email.com, and I'm easy to find on LinkedIn. If you are ever in London, I owe quite a lot of you a coffee.
Take care of each other.
With love and gratitude,
Sam
Key Vocabulary
responsibility noun
the duty to look after something or someone, or to make decisions
"She has more responsibility in her new job."
supposed to phrase
expected to do something, often by other people
"I didn't know what I was supposed to do."
pick up (a skill) phrasal verb
learn something gradually, often without trying
"I picked up Italian when I lived in Rome."
take a chance on (someone) phrase
give someone an opportunity even though you are not sure they will do well
"Thank you for taking a chance on me."
lockdown noun
a period when people had to stay at home, used especially about Covid-19
"We started the project during lockdown."
overgrown adjective
(here, used playfully) too big or too old to be the thing it once was
"I felt like an overgrown student in my first year."
on purpose phrase
deliberately; with intention
"I didn't do it on purpose."
owe verb
have to give something (money, time, or thanks) to someone
"I owe you a coffee."
gratitude noun
the feeling of being thankful
"I want to express my gratitude to my parents."
in the best possible way phrase
(used after a slightly negative-sounding phrase to make it positive)
"She is unusual, in the best possible way."
Questions
Comprehension
  • Where is Sam going next, and what will Sam be doing there?
    Answer
    Sam is moving to a small company in London called Carver & Co. The work will be similar to the current job but with more responsibility — and, Sam jokes, more meetings.
  • How did Sam feel on the first day at Brightline?
    Answer
    Lost. Sam writes that they didn't know what they were 'supposed to do' and arrived with just two notebooks and a sandwich. They were 21, fresh out of university, and unsure of themselves.
  • What three small lessons did Sam learn at work, according to the email?
    Answer
    How to say 'I don't know yet — I'll come back to you' instead of pretending; how to write an email that won't make a client angry; and the office trivia about the broken photocopier and Tom's fantasy football team.
  • What did Sara say to Sam in the first week? Why was it useful?
    Answer
    She said: 'You're going to be fine, just slow down.' Sam says they have repeated it to themselves many times since — it became a calming phrase that helped Sam manage anxiety.
  • When did Sam become close friends with Priya?
    Answer
    During the lockdown year, when they used to call each other to complain about working from a small bedroom.
  • How does Sam describe how a first job changes a person?
    Answer
    Sam writes: 'You arrive as a slightly overgrown student and you leave as a person who can pay rent and run a meeting.' Most of the change, Sam says, happens because of the people around you, not because of anything you do on purpose.
Vocabulary
  • What does 'take a chance on someone' mean? How does Sam use it?
    Answer
    It means giving someone an opportunity even when you are not sure they will succeed. Sam uses it to thank Sara, the manager, for hiring or trusting Sam when Sam was visibly unsure of themselves.
  • What does Sam mean by 'a slightly overgrown student'?
    Answer
    Sam means someone who has finished university but still feels like a student — not yet fully an adult worker. The word 'overgrown' is used playfully, like a plant that has grown too big for its pot. It is self-mocking and warm.
  • Find a phrase the writer uses to soften a slightly bold statement. What does it do?
    Answer
    'In the best possible way' (at the end of 'most of that is your fault, in the best possible way'). It softens the word 'fault', which would otherwise be negative, and turns it into a compliment. It is a small piece of writing technique that makes the warmth feel sincere rather than sentimental.
Inference
  • Why does Sam mention the cup of cold tea and the calendar in the opening line?
    Suggested interpretation
    To anchor the email in a specific moment — Sam writing it at their desk in real time, not as a formal speech. The detail makes the email feel personal and human, and it lowers the temperature of the writing so the goodbye feels less performative.
  • What is the effect of Sam writing 'They are not always the same thing' about Sara being a good manager and a kind one?
    Suggested interpretation
    It is a small honest aside. Sam is acknowledging — without naming names — that managers can be one or the other but not always both. It quietly compliments Sara more strongly by suggesting that her combination is unusual. It also signals to readers that Sam has met other kinds of manager, without spelling it out.
  • What can we infer about Sam's relationship with the marketing team?
    Suggested interpretation
    It was warm and slightly chaotic. Sam calls them 'loud', 'funny', and 'excellent at your jobs', and singles them out for thanks even though they were not Sam's manager or direct support. It suggests Sam spent time with them socially, possibly at lunch or on breaks, and enjoyed their company.
Discussion
  • Sam writes that 'most of the change' in the first job 'happens because of the people around you, not because of anything you do on purpose'. Is this true?
    Discussion prompts
    Prompts for discussion: Side A — yes, we are shaped by our colleagues and their habits; we copy what we see. Side B — no, growth comes from work itself — from doing hard tasks and getting feedback. Real answer: probably both, but the writer's point is interesting because we usually credit our own effort. Discuss whether students agree, or whether they think we are too modest about how much we change ourselves on purpose.
  • Is it appropriate to mention that some managers are not kind, even gently, in a goodbye email?
    Discussion prompts
    Prompts for discussion: Side A — yes, because it makes the praise of the kind manager mean more; honesty is part of warmth. Side B — no, because it might be read as a dig at someone, even if no one is named, and the email is supposed to leave only positive feelings. Real answer: it depends on the office culture. Discuss what the writer gains and what they risk by including this line.
  • What does this email tell us about modern office life?
    Discussion prompts
    Prompts for discussion: it is informal but professional; it mixes work talk with personal warmth; it expects readers to stay connected through LinkedIn after they leave; it includes the lockdown experience as a normal part of work history. Discuss whether this matches students' picture of work in their own country, or whether work culture there is more formal, more hierarchical, or differently structured.
Personal
  • Has anyone ever said something simple to you that you have repeated to yourself for years afterwards?
    Teacher guidance
    Students' own answers. Sara's 'You're going to be fine, just slow down' is the model. Common: a parent's reassurance, a teacher's praise, a friend's blunt advice, a stranger's casual comment. Listen for specific words and the speaker. If a student says no, ask what they have read or watched that has stayed with them instead.
  • If you imagine your first proper job, what kind of small things do you think you might learn that the job description would never mention?
    Teacher guidance
    Students' own answers. The model is Sam's list (the photocopier, the fantasy football, drinking strong coffee). Common: the unwritten rules, the people to ask, how to behave at lunch, when to speak in meetings, how to ask for help. This is a useful imaginative question for students who haven't worked yet.
  • Is there a place or a group you have left where you wish you had said a proper goodbye? What would you say if you could?
    Teacher guidance
    Students' own answers. Common: a school, a country, a team, a workplace where they didn't have time to say goodbye properly. Some answers will be a little sad. Don't push for hard answers. Allow students to write their answer rather than say it aloud, or to imagine a fictional case.
Writing Task
Prompt
Write a goodbye email of about 200 words from a job, school, sports team, or other group you have left or might leave one day. Include: an opening that places you in a specific moment (like Sam's cold tea), a thank-you to at least two specific people with specific reasons, one small piece of office or group humour, and one honest sentence about how you feel.
Model Answer

Subject: Last shift on Saturday

Hi everyone,

It is half past three on a Tuesday, the kitchen is quiet for ten minutes, and Marek is shouting at the dishwasher in the back. So this is a good moment to write to you. As you know, Saturday is my last shift at the restaurant. I am going back to my home country to start a master's degree.

I started here three years ago, when I was 22. I had been in this country for two months and my English was much worse than I thought. I was given the easiest job in the kitchen and I was still bad at it. You were patient with me. You laughed when I broke things, but in a kind way.

I want to thank Anna, who taught me how to chop an onion properly and how to swear properly in two languages. I want to thank Marek, who always shared his food on Sundays. I want to thank Chef Daniel, who once told me, when I cried in the cold room, that everyone cries in the cold room in their first month.

I am sad to leave, and a bit relieved, and a bit excited. All three are true.

Please stay in touch — I am on Instagram and email.

Thank you for being my first family in this country.

With love,
Lena

Activities
  • Read the email in pairs, one paragraph each. Identify three places where the writer uses humour. What is the effect of each one?
  • List the people Sam thanks and what each is thanked for. Discuss: who is missing? Who else might Sam want to thank, and why might they be left out?
  • Vocabulary work: find every place in the email where Sam softens a strong statement (e.g. 'I'm not going to pretend otherwise', 'in the best possible way'). Discuss why this matters in professional writing.
  • Pair role-play: one student plays Sam, leaving on Friday. The other plays a colleague who has come to wish them well. The colleague should ask: 'Are you really going to miss us, or is that just for the email?'
  • Sequencing: students cut the email into paragraphs, mix them up, and put them back in order. Discuss the structure: where does the writer place the personal thanks? Where does the emotional honesty come?
  • Register comparison: rewrite the paragraph about the marketing team as a private message to a close friend in the same team. What changes?
  • Mini-writing: write a one-paragraph thank-you note to a specific colleague or classmate. Be specific about what they did and how it helped.
  • Discussion in groups of three: 'When you leave a place, is it more important to say what you feel, or to say what people want to hear?' Try to find an example from your own life.
Duration: 45 min 🎯 Focus: Complex sentence structures with subordinate clauses; nominalisation ('the act of leaving', 'a kind of arrival'); conditional structures ('if I had stayed', 'were I to remain'); discourse markers for concession ('admittedly', 'mind you', 'on the other hand'); register-shifting between formal and conversational.
Before You Read / Listen
  • Q1Is it possible to be honest in an email that everyone in your office will read?
  • Q2Have you ever written something carefully, then deleted it, then written something less honest? What was happening?
  • Q3What is the difference between gratitude and politeness?
  • Q4Some people say a first job 'shapes you'. What does that mean? Do you think it's true?
  • Q5Is the leaving email a kind of public document, a private one, or something in between?
The Text
Subject A long, slightly sentimental goodbye
Hi everyone,
I'll start by warning you that this is going to be longer than the standard leaving email, and probably more honest than is strictly professional. I have written and deleted three shorter versions today, and the shorter versions did not do the work I needed them to do, so here we are.
Friday is my last day at Brightline. I am moving to a smaller agency in London — Carver & Co — where, if I have read the job description correctly, I will be doing something similar to what I do now, except with about 30 percent more responsibility and a desk near a window. I have been here for two years and three months. I started, in case anyone has forgotten or didn't know me at the time, at the absolute bottom of the pay scale and at the absolute top of my own anxiety, in October two years ago. I was 21. I had a graduate's CV with a lot of confidence and not much evidence behind it.
When I think about what I am taking with me, it is not, mostly, the obvious things — although I have, technically, learned how to do the job. I can write a brief that doesn't get sent back. I can present to a room of people I don't know without my voice doing the slightly trembly thing it used to do. I can email a difficult client about a mistake without making it worse. These are useful skills and I am glad to have them. They are not, though, what I am going to remember.
What I am going to remember is harder to put on a CV. I am going to remember Sara saying, in my second week, 'You are not the first person to feel like a fraud here, and you will not be the last; the people who never feel it are the ones to worry about.' I am going to remember Tom explaining the printer to me with the patience of a person who knew, correctly, that he would have to explain it again the following Tuesday. I am going to remember the way Priya laughed during the long, weird lockdown months when our calls went on too long because neither of us had anywhere else to be.
I am going to remember, embarrassingly, the exact moment in the kitchen when one of the senior partners looked at me and said, 'You're doing well, you know,' in a way that suggested he had thought about whether to say it. I had not realised, until that moment, how much I had been waiting for someone like him to say something like that. I want to thank him here, even though, in keeping with the conventions of our office, I will not name him.
There are a few specific thank-yous that I owe and that I want to put down on record while I have the chance.
Sara — thank you for being the kind of manager I now know is rare. You explained things to me. You told me when I had got something wrong, and you told me quickly, and you told me without making it bigger than it was. You also defended me, more than once, in rooms I was not in. I have learned, since, that this is the part of management most people don't see, and that not all managers do it. You did.
Tom — thank you for treating my technical questions as honest questions, every time, even when they were the same questions. The kindness of being met without irritation when you have asked something stupid is more important to a 21-year-old than anyone over 40 quite remembers.
Priya — thank you for being, in the gentlest possible way, the friend who told me when I was wrong. I did not always like it. I was, in retrospect, often wrong. The friendship has survived because you were honest, and I hope I can be that for someone else.
Marketing — you are appalling and beloved in roughly equal measure. Look after the new people.
I would also like, while I am at it, to acknowledge the people whose names I am not going to write here. The clients who were unreasonable and from whom I learned, slowly, how to disagree. The colleague who was unkind to me in my first month and was, I now suspect, also having a hard time. The senior people I disagreed with and did not have the standing to argue with — I hope I argue better in the next place. None of these are bitter notes; they are also part of what I am taking with me.
I will admit something that I am not sure I should admit. I am going to miss this place more than I expected. I had told myself this was just a first job, and that I would leave neatly, and that I would not be the kind of person who got attached to a particular building and a particular set of desks and the particular tea-ladies of the second-floor canteen. It turns out I am exactly that kind of person. The neat exit is a fiction. There is no clean version of leaving a place where you have, without realising it, partly grown up.
Please stay in touch. My personal email is at the bottom. If any of you find yourself in London — particularly anyone who has read this far — there is a coffee with your name on it.
Look after each other. Look after the new starters in particular. They are nervous in ways they will not show you, and the small kindnesses you offer them in the first weeks will turn out, two years later, to have been more important than either of you realised at the time.
With gratitude and a slightly thicker throat than I expected,
Sam
Key Vocabulary
strictly adverb
exactly; in the precise sense
"It is more honest than is strictly professional."
agency noun
a company that provides a particular service to other businesses (e.g., a marketing agency, an advertising agency)
"She works at a small design agency."
trembly adjective
shaking slightly, often from nerves or cold (informal)
"His voice went trembly when he stood up to speak."
fraud noun
(here, idiomatic) a person who feels they don't deserve their position; an impostor
"Many young professionals feel like a fraud at first."
in keeping with phrase
matching; following the spirit of
"In keeping with our office culture, I will not name names."
irritation noun
the feeling of being slightly annoyed
"He answered without showing any irritation."
in retrospect phrase
looking back on something now that has already happened
"In retrospect, I was often wrong."
bitter adjective
feeling angry or resentful about something for a long time
"I don't say this in a bitter way."
attached to phrase
having strong feelings of affection for something or someone
"I didn't realise I was so attached to this office."
fiction noun
(here) something not really true; an imagined version of something
"The 'neat exit' is a fiction."
thicker throat phrase
(idiomatic) the feeling of being close to tears or strongly moved
"She finished her speech with a slightly thicker throat than she had expected."
Questions
Comprehension
  • Why does Sam say the email is longer than usual?
    Answer
    Because Sam wrote and deleted three shorter versions earlier in the day, and the shorter ones 'did not do the work' Sam needed them to do. Sam is signalling that the length is intentional, not careless.
  • How does Sam describe their state when they first joined Brightline?
    Answer
    At the absolute bottom of the pay scale and the absolute top of their own anxiety. They had a graduate's CV with confidence but not much evidence behind it.
  • What three professional skills does Sam say they have learned?
    Answer
    How to write a brief that doesn't get sent back; how to present to a roomful of strangers without their voice trembling; and how to email a difficult client about a mistake without making it worse.
  • What did Sara say to Sam in the second week, and why does Sam remember it?
    Answer
    She said: 'You are not the first person to feel like a fraud here, and you will not be the last; the people who never feel it are the ones to worry about.' Sam remembers it because it normalised what Sam thought was a private weakness, and reframed self-doubt as a sign of self-awareness.
  • Why does Sam not name the senior partner who said 'You're doing well, you know'?
    Answer
    Sam writes: 'in keeping with the conventions of our office, I will not name him.' This suggests there is a culture of professional discretion at the company; or the partner might prefer not to be named publicly.
  • What does Sam say about the people whose names they do not write?
    Answer
    Sam acknowledges them — the unreasonable clients, the unkind colleague, the senior people they disagreed with. Sam says these are 'not bitter notes', and that what was learned from these people is also part of what is being taken to the next job.
  • What is Sam's final piece of advice to the team?
    Answer
    Look after the new starters. The small kindnesses offered to nervous new people in their first weeks turn out, two years later, to have been more important than either side realised at the time.
Vocabulary
  • Sam describes feeling like 'a fraud'. What does this mean here, and why is the phrase well-chosen?
    Answer
    'A fraud' here means a person who feels they don't deserve to be in their position — that they are getting away with something. It is a stronger and more interesting word than 'unsure', because it captures the moral weight of the feeling: not just 'I am bad at this' but 'I should not be here'. The phrase is now widely used in the term 'impostor syndrome'.
  • What does the phrase 'in keeping with' mean? How does Sam use it?
    Answer
    It means 'matching' or 'following the spirit of'. Sam uses it to acknowledge that not naming the senior partner is consistent with their office's culture — implying that the office is one where direct praise of senior people in writing might feel awkward or inappropriate.
  • Find three places where Sam uses humour. What is the function of the humour in each case?
    Answer
    Examples: '30 percent more responsibility and a desk near a window' (deflates Sam's own promotion); 'a graduate's CV with a lot of confidence and not much evidence behind it' (self-mocking about being young); 'you are appalling and beloved in roughly equal measure' (the affectionate insult to the marketing team). In each case the humour stops the email becoming earnest in a way the writer wants to avoid, while still allowing real feeling underneath.
  • Explain the phrase 'a slightly thicker throat than I expected' at the end. Why does Sam use it instead of saying 'I am sad'?
    Answer
    It is a physical, sensory description of being close to tears — the feeling of the throat tightening. Sam uses it because it is more specific than 'I am sad', which is general and slightly empty in this context. It also keeps the writer's voice slightly self-aware ('than I expected') rather than collapsing into pure emotion.
Inference
  • What kind of organisation is Brightline? What evidence does the email give?
    Suggested interpretation
    Brightline is a corporate office of moderate size — large enough to have senior partners, multiple departments (marketing, IT support, account management with clients), a canteen, and named pay grades. It is informal enough that the marketing team is openly affectionate, but formal enough that there are 'conventions' about not naming senior people. It is probably a professional services or agency-type business.
  • What does the writer want the reader to think of them by the end of this email?
    Suggested interpretation
    Someone who is thoughtful, slightly more articulate than the average leaver, capable of warmth without sentimentality, and honest about both their gratitude and their gaps. The email is, in part, a piece of personal branding — though it would be slightly missing the point to say so. The writer wants to be remembered as someone who took the trouble.
  • Why does Sam choose to mention people they do NOT name — the unkind colleague, the unreasonable clients?
    Suggested interpretation
    To avoid the dishonesty of pretending that everything was good, while also not making the email a vehicle for grievance. Sam acknowledges the harder parts of the job in a controlled way that doesn't damage anyone, and that signals to readers that the warmer thanks elsewhere in the email are sincere. It is a quiet way of saying 'I am not pretending'.
  • What does Sam mean by 'the neat exit is a fiction'?
    Suggested interpretation
    Sam had told themselves they would leave without strong feelings, simply moving on to the next thing. The 'neat exit' is a story we tell ourselves to feel grown-up about transitions. Sam is admitting, with some embarrassment, that no such clean version of leaving exists — that emotional attachment is real, even to a workplace, and especially to one where you have, partly, grown up.
Discussion
  • Sam writes that 'the kindness of being met without irritation when you have asked something stupid is more important to a 21-year-old than anyone over 40 quite remembers'. Is this fair?
    Discussion prompts
    Prompts for discussion: Side A — yes, older colleagues forget what it feels like to be new, and can be impatient with young people who don't yet know the basics. Side B — no, this generalises about older workers, many of whom remember vividly; and young people are also sometimes impatient with each other. Real answer: Sam's line is sharp because it identifies a specific imbalance, but it is a generalisation. Discuss whether class, gender, and country also affect how new people are treated.
  • Is the leaving email an act of generosity, or a piece of self-promotion?
    Discussion prompts
    Prompts for discussion: generosity — it offers thanks publicly, names individual contributions, and gives the reader a piece of writing to keep. Self-promotion — it carefully shapes how the writer will be remembered, demonstrates the writer's range and style, and may be read by future colleagues as a sample of their work. Real answer: it is usually both. The interesting question is whether one motive crowds out the other. Discuss whether Sam manages the balance.
  • Sam acknowledges the people they cannot name — the unkind colleague, the difficult clients. Is this a useful habit, or a passive-aggressive one?
    Discussion prompts
    Prompts for discussion: useful — it lets the writer be honest without naming individuals; it signals that praise elsewhere is real because it is not universal; it admits that work is not all sunshine. Passive-aggressive — readers will guess who is meant; the writer gets the satisfaction of being heard without taking the cost of naming; it can leave a vague unpleasant cloud. Real answer: it depends on tone. Sam's tone is quite controlled, but reasonable readers might disagree.
  • Should employers expect people who leave to write positive, public emails like this?
    Discussion prompts
    Prompts for discussion: arguments for — it preserves goodwill, helps the network, marks transitions warmly. Arguments against — the expectation is one-sided: the leaver does emotional labour at the moment they have least obligation to do so; the form silently rewards people who can write well in English (which excludes many workers); workers who leave because of mistreatment are pressured to be polite about it. The class might consider whether the leaving email belongs to the worker or to the company.
Personal
  • Has anyone in a workplace, school, or community group ever said something to you that you have repeated to yourself for years afterwards? What was it?
    Teacher guidance
    Students' own answers. Sara's line is the model. Common: a teacher's reassurance, a coach's instruction, a parent's casual remark, an older colleague's matter-of-fact comment. Listen for the specifics — the words, the speaker, when it was said. Praise students who can recall the exact phrasing rather than paraphrasing. If a student says 'no, never', that is also data; ask whether they wish someone had.
  • Sam says they had told themselves they would 'leave neatly' and would not get attached. Have you ever told yourself you wouldn't get attached to something — and got attached anyway?
    Teacher guidance
    Students' own answers. Common: a place, a class, a sports team, a flatshare, a person in a group abroad, a temporary job. Listen for the moment of recognition — when the student noticed they had been wrong about themselves. Don't push for hard answers; allow students to keep them general.
  • If you had to write a goodbye email tomorrow, to a real or imagined group, what is the one sentence you would most want to write — and the one sentence you would most want to leave out?
    Teacher guidance
    Students' own answers. The double form of the question is deliberately useful: it prompts both the brave thing and the unsaid thing. Listen for students who can say both, even briefly. If a student is reluctant to share, let them write privately. The exercise is more valuable than the disclosure.
Writing Task
Prompt
Write a goodbye email of around 350 words from a real or imagined job, school, or group. Your email must include: (1) an opening line that shows where you are physically when you write it; (2) two specific named thank-yous, each tied to a specific moment or quotation; (3) one piece of self-mocking humour about your younger self at the start of this experience; (4) one acknowledgement, however brief, of something difficult you are not naming directly; (5) an honest closing line that admits a real feeling, expressed in a controlled way (not 'I love you all forever').
Model Answer

Subject: Three years and a final shift

Hi everyone,

I am writing this on the bus home after my second-to-last shift, with a bag of leftover bread on my lap and a flat white I shouldn't have ordered at this hour. Saturday is my last day at Roselli's. I am going home to start a master's in September, which feels both very planned and very sudden.

I started here three years ago, when I was 22, two months after I arrived in this country. I had been told my English was good. It turned out my English was good for restaurants in films, and not for actual restaurants. I was very slow. I held knives wrongly. I once asked a customer if they wanted their soup 'medium-rare', as a joke that landed badly.

I want to thank Anna in particular. You taught me to chop an onion properly, and to take a deep breath before walking out into the dining room on Friday nights. You also told me, on my third day, 'You will be embarrassed for about a year, and then you will be fine,' which turned out to be precisely true.

I want to thank Marek, who shared his Sunday food with me when my pay had not yet come through, without making me thank him for it.

There are people I am not going to name whose unkindness I have learned from. I have decided not to be the kind of cook they were to me. That is a real piece of training, even if it is not the kind you put on a CV.

I am going to miss the kitchen more than I had planned to miss it. The neat departure I had imagined — small wave, taxi to the airport — is, it turns out, not what is happening. I am leaving a part of myself in the cold room, with the trays of half-prepared lemons.

Please stay in touch. The bread is for whoever finds it first.

With real gratitude,
Lena

Activities
  • In pairs or small groups, students annotate the email for every place where the writer corrects, qualifies, or undercuts themselves. Discuss the cumulative effect on the reader's trust.
  • Compare the B1 and B2 versions of this email side by side. What can the B2 writer do that the B1 writer cannot — not just in vocabulary, but in voice, structure, and what is willing to be said?
  • Group discussion: Sam dedicates a paragraph to people whose names they will not write. What does this paragraph add to the email? What would change if it were removed?
  • Vocabulary work: students collect every adverb the writer uses in qualifying phrases ('strictly', 'embarrassingly', 'admittedly', 'roughly', 'gently'). Discuss how these adverbs shape the writer's voice.
  • Imitation exercise: students write the opening paragraph of a goodbye email that places the writer in a specific physical scene with a sensory detail (cup of tea, half-eaten lunch, view from a desk).
  • Pair role-play: one student is Sam at the leaving drinks; the other is a colleague who has read the email and wants to say 'that thing you wrote was really good, but slightly too much, wasn't it?' Practise the exchange.
  • Critical reading: identify the moment where the writer drops the analytical voice and becomes plainly emotional. What earns the right to that drop in register?
  • Writing task: rewrite the paragraph about 'people I am not going to name' as either (a) a private message to a close friend, or (b) a passage in a diary. What changes when the audience changes?
  • Discussion in groups of three: 'Is the leaving email a literary form?' Find at least three pieces of evidence in this email that the writer is treating it as one.
Duration: 50 min 🎯 Focus: Periodic and cumulative sentences; concession structures ('admittedly', 'granted', 'and yet'); inversion for emphasis ('rarely have I', 'not until later did I'); register-shifting between corporate and confessional; nominalisation as rhetorical instrument; controlled use of irony; the careful management of who is named and who is not.
Before You Read / Listen
  • Q1The leaving email has, in the last twenty years, hardened into a recognisable office genre. Why do you think it has become so widespread?
  • Q2Is there a difference between 'professional sincerity' and ordinary sincerity? Can both exist in the same sentence?
  • Q3What does it cost a young worker, emotionally and politically, to write a polite goodbye to a workplace they have ambivalent feelings about?
  • Q4In your own culture or industry, who controls how transitions are publicly described — the worker who is leaving, or the institution they are leaving?
  • Q5Is it useful, or self-indulgent, for the leaver to acknowledge the conventions of the form while writing within it?
The Text
Subject With apologies for the length
Hi everyone,
I am writing this on a Wednesday afternoon, in the corner of the second-floor canteen, with a cup of the canteen tea — which, as we all know, is technically tea — and a calendar telling me that Friday is my last day at Brightline. I have been postponing writing this email for the better part of a week, and I would like to begin by being honest about why. The leaving email is, by now, a recognisable genre, with its own conventions: the warm but contained gratitude, the affectionate but unspecific list of remembered moments, the gentle reassurance that everyone in the room mattered, and the slightly awkward final paragraph in which the writer acknowledges that they have been thinking about this for too long and now need to send it. I have read enough of these to know what the form expects of me. I have been postponing partly because I do not entirely want to deliver it, and partly because I do not, quite, have an alternative.
I am 23. I am leaving the first job I have ever had. I joined Brightline two years and three months ago, fresh out of a degree that, in retrospect, did not prepare me for the things this job has actually taught me, although it sounded as if it had. I am moving to a smaller agency in London, where, the offer letter informs me, I will have a desk near a window. I mention the desk because I am told it is significant, and because I have not yet decided whether to be embarrassed or pleased about caring.
What follows is a longer goodbye than is strictly required by the conventions of corporate English, and I want to apologise to anyone whose afternoon I am occupying. The shorter version would have done. The shorter version, however, would also have left out most of what I actually want to say, and I have decided, perhaps unwisely, that the form should be made to carry slightly more than it usually does.
About what I have learned. The official answer, the one that goes on the leaving paperwork and on the next CV, is that I have learned to manage client relationships, to write briefs that hold together, to present without my voice doing the small embarrassing thing it used to do at the second slide. I will not pretend to despise these skills. They are useful, they are portable, and I am grateful to the people who patiently watched me acquire them. But I do not think they are the centre of the matter. The centre of the matter is what is harder to put on paper, and concerns the slow process by which I have, in this office, been adjusted by other people.
I have, for instance, learned a kind of professional patience that I did not know existed when I arrived. I had assumed, at 21, that work would be a place where you produced things and were judged on them. It turned out to be, more often, a place where you waited for things — for an email back, for a decision from someone who had not read the document, for a colleague to be ready to receive feedback you had been ready to give for a week. The patience required by this is not glamorous, and it is not in the textbooks, and it has been one of the most useful things I have learned. I think — though I would not yet bet money on it — that the patience is starting to extend into the rest of my life.
I have also, at some point I cannot quite locate, stopped feeling like a fraud. This is a less complete piece of progress than it sounds. I felt acutely fraudulent for the first six months — convinced I would be discovered, or, more often, that nothing about me deserved the job description on my contract. The feeling did not vanish dramatically. It just thinned, over time, into something more bearable, and I was helped along by people who were generous about it. I would like to thank, here, the colleagues who treated my anxious overpreparation as a normal early-career trait rather than as a personality flaw. They know who they are; they are also, I suspect, the colleagues who had once been treated kindly themselves.
Specific thanks, then.
Sara — you took a chance on me when, by any reasonable assessment of my interview performance, you should not have. You explained things to me in the first weeks with a patience I have, since, come to recognise as the work of a serious manager rather than a friendly one. The two are not the same, and I have learned, in passing, that the workplaces that mistake the second for the first tend to be unhappier than they realise. You also defended me in rooms I was not in, which is the part of management that no one outside the room ever sees, and which I will, with luck, get the chance to do for someone else.
Tom — your patience with my repeated questions about the printer was a piece of teaching I now think of as a small public good. You gave clear answers to bad questions, every time, without making the asker feel small. The cumulative effect of being treated like that, by an older colleague, when you are 21 and slightly afraid of the building, is more important than I think you have ever quite registered. I hope you receive, somewhere, the version of that kindness you have given to so many of us.
Priya — thank you for being the friend who told me when I was wrong, in a tone that did not sound like correction. Most of the corrections I most needed at 21 came from you, and most of them landed because you were funny about them. The friendship, I should say, is the most unexpected thing I have taken from the job, and the thing I would, if asked, point to as evidence that the job was worth it.
There are people I will not name, and I want to be transparent about that, because it would be slightly dishonest to pretend they are not part of what I am taking with me. There are colleagues who were unkind to me in my early months, and who, in retrospect, were probably having a hard time themselves. I was angry about it for a year and I am no longer angry; I would not say I have forgiven them, exactly, because they have not asked, and because the asymmetry of forgiveness without acknowledgement is, I think, slightly fraudulent. I have, more accurately, decided to spend the energy elsewhere. I mention this here only so that the warmer thanks, above, are believable; an email in which everyone is wonderful tends, on inspection, to be an email in which no one is.
I want to acknowledge, finally, the structural awkwardness of writing this kind of email at all. I am 23 and have, by any honest accounting, very limited evidence about what work is or what makes a workplace good. The opinions in this email — about patience, about management, about the kindness of senior colleagues — are the opinions of someone who has worked in exactly one office, and whose sample size is therefore precisely one. I would, if I were reading this email rather than writing it, want to know that the writer was aware of this. I am aware of it. The opinions are still mine, for now, and I have decided to put them on record while I still hold them in this particular form. In a year I expect to disagree with at least two of them.
I have, despite my best efforts, become attached to the building. The small canteen, the second-floor printer, the corner of the office where the heating doesn't work, the morning routine of the security guard whose name, with embarrassment, I have only recently learned. I had told myself I would leave neatly. The neat exit, as it turns out, is a fiction. There is no clean way to leave a place where, without quite noticing, you have done some of the work of becoming an adult.
Please stay in touch. My personal email is at the bottom of this message. If any of you find yourself in London on a weekday lunchtime, I owe a number of you a coffee, and I have not forgotten which.
Look after the new starters in particular. They are anxious in ways they will not show you. The kindnesses you offer them in the first weeks will turn out, two years later, to have been more important than either of you realised at the time — which is, on reflection, the only piece of advice in this email that I would like anyone to remember.
With gratitude, and apologies again for the length,
Sam
Key Vocabulary
postpone verb
to delay; to put off until later
"I have been postponing this email all week."
convention noun
an accepted way of doing something, especially in a literary or professional genre
"The leaving email has its own conventions."
in retrospect phrase
looking back from a later time on something already past
"In retrospect, the degree did not prepare me for the work."
portable adjective
(of a skill) able to be carried from one job to another
"Project management is a portable skill."
acutely adverb
very strongly; sharply
"I felt acutely fraudulent in the first six months."
thin (verb) verb
to become less dense or intense, gradually
"The feeling thinned over time."
asymmetry noun
a lack of balance between two sides
"There is an asymmetry between forgiving and being forgiven."
fraudulent adjective
false; dishonest in a slightly disguised way
"Forgiveness without acknowledgement can feel fraudulent."
structural adjective
(here) relating to the underlying form or arrangement of something, rather than its content
"The structural awkwardness of the form is part of the subject."
sample size noun phrase
(here, used loosely from statistics) the number of cases on which a judgement is based
"My sample size is one office, which is precisely too small."
on inspection phrase
when looked at carefully
"On inspection, the email said almost nothing."
fiction noun
(here) something not really true; a comforting story we tell ourselves
"The neat exit is a fiction."
Questions
Comprehension
  • How does the writer explain why they have been postponing the email?
    Answer
    Two reasons: they do not entirely want to deliver the standard genre version of the leaving email (with its predictable conventions), and they do not yet have a worked-out alternative. The postponement is honest indecision, not laziness.
  • How does the writer describe the conventions of the genre?
    Answer
    Warm but contained gratitude; an affectionate but unspecific list of remembered moments; gentle reassurance that everyone mattered; an awkward final paragraph in which the writer admits to having taken too long. The writer can name these conventions because they have read enough of them to recognise the form.
  • Why does the writer mention having a desk near a window?
    Answer
    Because they have been told the desk is significant, and because they have not yet decided whether to be embarrassed or pleased about caring. The detail is small but the writer's awareness of caring about it — and being slightly suspicious of caring — is part of the email's voice.
  • What is the writer's view of the official skills they have learned?
    Answer
    They are useful and portable, and the writer is grateful to the people who watched them acquire them. But the writer does not think they are 'the centre of the matter'. The centre is harder to put on paper: the slow process of being changed by the people around them.
  • What does the writer say about feeling like a fraud?
    Answer
    They felt acutely fraudulent for the first six months, but the feeling thinned over time into something more bearable. They credit colleagues who treated their anxious overpreparation as a normal early-career trait rather than as a personality flaw.
  • What does the writer say about colleagues they will not name?
    Answer
    They acknowledge that there were colleagues who were unkind in their early months, who were probably having a hard time themselves. The writer was angry for a year, is no longer angry, has not forgiven them — because forgiveness without acknowledgement would be fraudulent — and has 'decided to spend the energy elsewhere'.
  • What does the writer say is the only piece of advice in the email they would want anyone to remember?
    Answer
    Look after the new starters. The small kindnesses offered to anxious new people in their first weeks will turn out, two years later, to have been more important than either party realised at the time.
Vocabulary
  • Explain the writer's use of the term 'sample size'. What is the rhetorical effect of borrowing this language from statistics?
    Answer
    The writer is treating their own opinions as data drawn from a single workplace, and is signalling — through the technical word 'sample size' — that they know one workplace is too small a sample to generalise from. The borrowed language makes the self-criticism crisper and slightly funny, and it asks the reader to take the writer seriously without taking them too seriously.
  • What does the writer mean by 'the asymmetry of forgiveness without acknowledgement'?
    Answer
    When one person forgives another without the other person having admitted what they did, the act of forgiveness is one-sided. The forgiver does emotional work that the offender has not invited and may not even want. The writer calls this 'fraudulent' because the word forgiveness implies a relationship that doesn't exist on the other side. It is a careful piece of moral phrasing, doing serious work in a small space.
  • What is the function of the verb 'thin' in 'the feeling thinned over time'?
    Answer
    It is precise where 'disappeared' or 'went away' would be too sudden. 'Thinned' suggests a slow, partial change — the feeling becomes less dense, but does not vanish entirely. The verb is also unusual enough in this use to make the reader notice the shape of the change rather than just its outcome.
  • Why does the writer say the canteen tea is 'technically tea'?
    Answer
    It is a joke that uses 'technically' to undercut the noun 'tea' — implying that the tea has the formal characteristics of tea (made with a teabag, hot water) but lacks the qualities one would actually want. The line places the writer in the canteen, signals office solidarity (it is a shared joke), and quietly establishes that the email is going to be honest in small ways.
Inference
  • Why does the writer apologise twice for the length of the email — once at the start and once at the end?
    Suggested interpretation
    Because the length is itself a small breach of the genre's rules, and the writer is registering this. The repeated apology is also a piece of self-awareness: the writer knows they are doing something slightly indulgent and would rather flag it than pretend not to be. The double apology has a slight comic timing — the bookending makes the length feel deliberate rather than accidental.
  • What is the writer's stance towards their own opinions in the email?
    Suggested interpretation
    Held with conviction but with a clear note of provisional self-doubt. The writer believes the things they are saying — about management, about kindness, about patience — but is honest that these views come from a single workplace and are likely to evolve. The stance models a kind of confident humility: it commits to a position while flagging that it might be wrong.
  • Why does the writer choose to acknowledge unkind colleagues, but only collectively and without names?
    Suggested interpretation
    Naming them would turn the email into a settling of scores and would damage the form. Pretending they did not exist would make the warmer thanks unbelievable. The collective acknowledgement is a compromise: it preserves the dignity of the form while refusing the dishonesty of pretending the workplace was uniformly good. There is also, deliberately, a tone of restrained moral care — the writer says they are no longer angry and has chosen not to spend energy on the question.
  • What does the line about the security guard whose name the writer has 'only recently learned' say about office hierarchy?
    Suggested interpretation
    It admits, quietly, that the writer has spent two years working in a building without learning the name of one of the people who keeps the building running. This is a small confession of class blindness — a pattern the writer has noticed in themselves. The line is more useful than a long political comment because it shows, rather than tells, what the writer has come to see.
Discussion
  • Is the writer's decision to acknowledge unkind colleagues — without naming them — a piece of moral honesty, or a piece of well-managed performance?
    Discussion prompts
    Prompts for discussion: honest — it refuses the false unanimity of the standard leaving email and signals to readers that the warmer thanks are real because not everyone is being thanked; performance — readers will guess who is meant; the writer gets credit for being honest without taking the cost of naming; the move could even be passive-aggressive if the unkind colleagues recognise themselves. Real answer: probably both, depending on how you read the tone. The class might consider whether the writer's general carefulness elsewhere makes the gesture more credible — or makes the carefulness itself suspicious.
  • Sam writes that 'the workplaces that mistake the second [a friendly manager] for the first [a serious one] tend to be unhappier than they realise'. Discuss.
    Discussion prompts
    Prompts for discussion: agreement — friendliness without seriousness can leave employees underdeveloped; managers who are 'friends' may not give the difficult feedback that helps people grow; offices with high friendliness scores can hide structural problems. Disagreement — the framing creates a false binary; many good managers are both; some workplaces require warmth more than rigour. The class might also consider the role of culture: in some traditions, friendliness from a manager is itself a form of seriousness, because it builds the trust within which difficult conversations can happen.
  • Is the leaving email an act of generosity towards the people left behind, or a piece of self-presentation by the person leaving?
    Discussion prompts
    Prompts for discussion: generosity — it offers public thanks, acknowledges contributions by name, gives readers something to keep. Self-presentation — it carefully shapes how the writer will be remembered, demonstrates the writer's literacy and emotional range, may be read by future colleagues as a sample of the writer's professional character. Real answer: it is almost always both. The interesting question is whether one motive starts to crowd out the other. Discuss whether the writer of this email manages the balance — or whether the very fact of asking the question is part of the same performance.
  • The writer claims the opinions in the email are 'the opinions of someone who has worked in exactly one office'. Does the modesty of this admission undermine the authority of the email, or strengthen it?
    Discussion prompts
    Prompts for discussion: undermining — if the writer is so unsure, why should we take the views seriously? Strengthening — the admission is a piece of intellectual honesty that earns the reader's trust; many essayists adopt this stance precisely to be heard. Cultural angle: in some intellectual traditions, modesty is the route to authority; in others, confidence is. Real answer: it depends on the reader. The class might consider whether the writer's repeated confessions of partiality are a form of generosity towards the reader, or a form of pre-emptive defence against criticism.
  • Some readers might find this email indulgent — too long, too literary, too self-aware. Is that a fair criticism?
    Discussion prompts
    Prompts for discussion: fair — the writer has clearly enjoyed writing it; the form has been stretched beyond what the office actually wanted; not every reader has time for a 700-word goodbye. Unfair — the writer has flagged the indulgence twice; the email rewards the readers who do read it; brevity is not the only virtue. Real answer: depends on the reader and the office culture. The class might consider whether the writer's awareness of the criticism is itself a defence against it — and whether such defences ever fully work.
Personal
  • If you were leaving a job or a group tomorrow, what is the part of your gratitude that the conventions of a polite goodbye email would NOT let you express? How would you express it instead?
    Teacher guidance
    Students' own answers. The question deliberately mirrors the writer's own move — naming what the form excludes. Common: thanks for friendship that crossed the work line; thanks for emotional support during a hard year; thanks for tolerating one's mistakes. Listen for students who can find a workaround — a private note, a phone call, a small gift — for what the public form cannot say. Don't push for personal disclosure; the imaginative move is enough.
  • Has there ever been a colleague, classmate, or teammate whose unkindness you have, in retrospect, decided was probably about something else in their life? What did that recognition do for you?
    Teacher guidance
    Students' own answers. The writer's move — 'in retrospect, were probably having a hard time themselves' — is the model. Common: a teacher under pressure, a sibling going through a divorce, a manager whose own boss was difficult. Listen for the shift from anger to a more complicated feeling. Some students will say 'no — they were just unkind', which is also valid. Don't push students towards a forgiveness narrative; the recognition is the point, not the forgiveness.
  • The writer says 'there is no clean way to leave a place where, without quite noticing, you have done some of the work of becoming an adult.' Has this been true for you anywhere — a place, a group, a relationship?
    Teacher guidance
    Students' own answers. Common: a school, a country, a flatshare, a family kitchen during the teenage years, a part-time job that quietly trained them. Listen for the moment of recognition — when the student realises that something they thought was a transit space turned out to be formative. Allow students who do not want to share to write privately. The exercise is more valuable than the disclosure.
Writing Task
Prompt
Write an open leaving email of 500–600 words, addressed to a real or imagined workplace. The email must do at least four of the following: (1) name and address the conventions of the leaving-email genre at some point in the body of the email; (2) include a moment of physical setting (where the writer is, what they can see or hear); (3) name two specific people, each tied to a specific quoted phrase or remembered exchange; (4) acknowledge, without naming, the existence of unkindness or difficulty; (5) admit a small piece of self-aware vanity or class blindness; (6) end with a single line of advice that the writer claims they would like to be remembered. Aim for a voice that is intelligent, slightly funny, willing to qualify itself, and not embarrassed by gratitude.
Model Answer

Subject: A goodbye email I have been postponing

Hi everyone,

I am writing this from the bench in the lobby, with the security guard nodding at me each time he passes — Mr. Anim, whose name, to my embarrassment, I learned only six weeks ago, after eighteen months of cheerful smiles. I begin with him because he has, more than anyone in this building, taught me that I have been working with my eyes half closed.

Friday is my last day. The leaving email is, by now, a recognisable form, and I do not want to write the standard version of it: the affectionate list, the gentle reassurances, the closing flourish about staying in touch. I have read enough of these to know what the genre expects, and I do not, today, have the appetite for it. I have, instead, a few honest things I would like to put on record.

First, I owe specific thanks to Maya, who said to me in my second week, 'You don't have to know the answer; you have to know who knows the answer,' and who has now repeated this, at intervals, every time I have started to drift back into pretending. Second, I owe specific thanks to Daniel, who has, with a patience I now think of as genuinely radical, fixed every printer I have broken without making me feel small. The second of these debts is, in my experience, the rarer.

I want, also, to acknowledge — because the genre would prefer that I did not — that not everyone in this office has been a teacher to me, and that some of what I am taking with me has come from working out, over time, the kind of professional I do not want to become. I am not naming anyone; the people in question know the smaller parts of what they did, and I am, on reflection, quite finished with the energy that would be required to address it.

I am also going to admit something less flattering. I had imagined I would leave this place neatly — that I would write a short, controlled email, decline the leaving drinks, and walk out with my box of belongings under one arm. I am leaving with a slightly thicker throat than I had budgeted for, an unexpected number of small private goodbyes already said in stairwells, and the recognition that I have been more attached to this office than I had let myself believe. The neat departure was a story I told myself when I was 22 and trying to look composed.

There is a single piece of advice I would like to leave behind, and I would like it to be remembered if anything is. It is this: the small kindnesses you offer to the new starters in their first weeks — answering a stupid question without sighing, walking them to the canteen, knowing their name on day three — turn out, two years later, to have been more important than either of you realised at the time. They are also the part of an office that the official systems will never measure, and that is why they matter.

I'll be on my personal email — at the bottom — and I owe a great many of you a coffee in London. The bench in the lobby is, I have decided, my favourite place in this building. I would not have known to write that two years ago.

With gratitude, and a little embarrassment about the length,

Sam

Activities
  • Sustained close reading: in pairs or threes, students annotate the email for every place where the writer corrects, qualifies, or undercuts themselves. Discuss whether the cumulative effect is honesty, performance, or both.
  • Genre essay: students write a 400-word essay on the proposition 'The leaving email is a literary form. What does the writer of this email gain, and what does the writer risk, by treating it as one?' They should reference at least two specific passages.
  • Voice analysis: identify the moments in the email where the writer's register shifts — from analytical to colloquial, from confident to provisional. List three such moments and discuss what each shift achieves.
  • Critical writing: students write a 250-word piece in the voice of a sceptical reader who says the email is too long, too literary, and too pleased with itself. Then they write 250 words in defence. Both pieces are discussed in class.
  • Comparative reading: bring in (or assign in advance) a real published 'goodbye email' from a public figure or a viral office post. Compare it with this letter. Where does the published example fall into the conventions the writer here names?
  • Writing exercise — refusal of cliché: students draft a leaving email in which no sentence may use the standard phrases ('It has been a pleasure', 'I have learned so much', 'Stay in touch'). The constraint forces sharper writing.
  • Discussion: 'Is the writer's decision to acknowledge unkind colleagues, but not name them, an act of restraint or a piece of well-managed passive aggression?' Students take positions and defend them with reference to the text.
  • Imitation exercise: students write a single paragraph that includes (a) a specific physical scene, (b) a moment of self-correction, and (c) a refusal of a redemptive line that the convention would expect.
  • Reflective writing (private): students write, but do not share, the goodbye email they would write if no one in the office could read it. Discuss afterwards what was hard and what surprised them — without disclosing content.
Duration: 55 min 🎯 Focus: Periodic sentences with multiple subordinate clauses; rhetorical inversion; the conditional perfect; the essayistic deferral of point; controlled use of irony and self-correction; second-person and first-person address held in tension; metatextual self-awareness as instrument of sincerity; the careful deployment of register-shift to manage tone.
Before You Read / Listen
  • Q1What is being asked of an employee, in 2026, when they are expected to write a public goodbye to the place that has employed them?
  • Q2Is there a meaningful distinction between sincerity and the performance of sincerity, in a piece of writing that everyone present knows is a performance?
  • Q3When a young worker leaves a first job, who has the standing to set the terms on which the leaving is described — the worker, the employer, the genre, or some combination?
  • Q4Are there things that can only be said in a leaving email — and conversely, are there things that the form, by its nature, makes it impossible to say?
  • Q5If the audience for an email includes both close friends and distant senior figures, can a single text address them honestly at the same time? What compromises must it make?
The Text
Subject With apologies
Hi everyone,
I have been postponing this email for the better part of a week, which is, I am increasingly aware, longer than the email itself can possibly justify, and I would like to begin by being transparent about the reasons. The leaving email — the public, all-staff message in which a departing employee thanks colleagues, marks the transition, and signs off with some version of 'do please stay in touch' — has, in the last fifteen or twenty years, hardened into a recognisable office genre. It has its own grammar; it has its own rhythm; it has its own quietly enforced rules about how much honesty is permitted and how much is felt to be a breach of taste. I have been postponing partly because I do not want to write the standard version of it, and partly because I have not yet worked out, to my own satisfaction, what alternative I am going to attempt instead. The choice, I have come to suspect, is not between writing the genre and refusing it, but between writing the genre badly and writing it with a degree of awareness that the genre itself does not naturally encourage. I am going to try the second. You will be the judge of how badly.
I am 23. I am leaving the first proper job I have ever had. I joined Brightline two years and three months ago — which, I would like to register before doing anything else, is not in any meaningful sense a long time, although it is the longest time I have so far spent doing one thing in one place, and the small expansion of my own perspective that has come from staying somewhere through more than one season is, I think, one of the things I am taking with me, even though I have no honest way to demonstrate that it has happened. I am moving to a smaller agency in London — Carver & Co — where, the offer letter informs me, I will have a desk near a window, and where, the offer letter does not say but the salary band suggests, I will be paid not unfairly more than I have been paid here for doing not very dissimilar work for someone who values my time slightly differently. I mention these material details because I have decided, against the conventions of the form, not to leave them out. The leaving email tends to behave as if the writer were leaving a vocation rather than a job, and I do not, on reflection, want to participate in that small fiction.
I want to say something, before I get to the thanks, about who the email is for. The honest answer is that it is for several audiences at once — the close colleagues who have been my friends, the senior people whose memory of me will affect references for years to come, the colleagues at the edge of the building whom I have never quite spoken to but who are now, by the conventions of all-staff distribution, going to read this — and that no single piece of writing can address all of these audiences with full sincerity at the same time. Every sentence I write will be calibrated, more or less consciously, towards more than one reader, and the calibration is itself a form of professional discipline that the job has, in passing, taught me. I want to flag this calibration here because I think it is one of the more interesting things that the genre conceals. The leaving email is, in part, a performance of unmediated feeling at precisely the moment when the writer is most strategically aware of who is listening. To pretend otherwise is, I think, to misunderstand what kind of document the form actually produces.
Granted, all of this — the meta-commentary, the careful flagging of the form's limits — is itself a recognisable rhetorical move, and I will not pretend it is not. The writer who acknowledges the conventions of the form before proceeding to use them is performing a slightly more sophisticated version of the same performance. There is, in the end, no place outside the form from which to write. There is only the choice of how much of the form to make visible. I am opting, today, to make rather a lot of it visible, on the working assumption that the visibility is itself useful information. If you find this irritating, I do not entirely blame you. Skim ahead.
What I have learned. The official answer goes on the leaving paperwork and on the next CV. I can manage a client account. I can write a brief that holds together. I can present to a roomful of people I do not know without my voice doing the small embarrassing thing it used to do at the second slide. I can, when necessary, deliver bad news to someone senior to me without making the bad news sound personally directed at them. These are useful, transferable, modestly impressive professional skills, and I am grateful to the people who watched me acquire them. I will not pretend to despise them. They are also, however, not the centre of the matter, and the leaving email — when it is honest — has the chance to say so.
The centre of the matter is harder to articulate, partly because it is harder to attribute. I have been, in the last two years and three months, gradually adjusted by the people around me, in ways that I did not at the time recognise as adjustment, and that I now cannot fully reconstruct. I arrived as a particular kind of 21-year-old: anxious in ways I performed as competence, ambitious in ways I did not yet have the experience to deserve, opinionated in proportion to my ignorance. I am leaving as a slightly different person, and most of the difference is, on inspection, the trace of small, repeated interactions with colleagues whose names I am about to put down. I owe most of who I am about to be in the next job to people who did not know they were teaching me, and who would, I think, be slightly embarrassed to be told.
Specific thanks, then, with full awareness that the genre would now like me to keep them brief.
Sara — you took a chance on me at interview that, by any reasonable assessment of the evidence available to you at the time, you should not have. You have, since, told me the story of why you did, and your account is more flattering than I think the evidence supports. I would like to record, in writing, that I now know enough about hiring to know how often the chance does not pay off, and that the colleagues I am about to thank exist in their current configuration partly because, two years and three months ago, you decided to take a small organisational risk. The patience with which you have, since, explained things to me — without ever making me feel that the explanation was a concession — is the work of a serious manager, and I now know, having met one or two of the other kind, that the seriousness is the rarer virtue. You also defended me in rooms I was not in. The defending, the part of the job that no one outside the room ever sees, is the part of management that I will now, with luck, be in a position to do for someone else. If I do it badly, it will be because I did not pay close enough attention to how you did it.
Tom — your patience with my repeated, badly-formed technical questions is, I have come to think, a small public good. The asymmetry of being treated as if your question is sensible when it is not, by an older colleague who has every reason to be irritated and chooses not to be, is more important to a 21-year-old in their first office than I think the older colleague tends to remember. The cumulative effect of being met that way, day after day, in the early months when one is at one's most fragile and most badly equipped to ask for kindness, is the kind of structural decency that makes a workplace possible. I would like, in passing, to wish you the version of that decency you have given so many of us. I do not think you have always received it.
Priya — I will be brief, on the grounds that anything I write here will fall short. You have been, in the gentlest possible way, the friend who told me when I was wrong; you have done so in a register that did not sound like correction; and you have done so with a comic timing that has, in retrospect, made the corrections both more accurate and more bearable than they would otherwise have been. The friendship is, as I have said elsewhere, the most unexpected thing I am taking from the job, and the thing I would, if asked under oath, point to as evidence that the job was worth it.
I want, finally, to register a few more difficult things, on the grounds that an email in which everything is wonderful is, on inspection, an email in which nothing is.
There are colleagues whose unkindness in my early months I will not name, partly because the form does not permit it and partly because I have, since, come to suspect that they were having harder times than I knew and would have wished me to know. I have not forgiven them, in any active sense, because forgiveness without acknowledgement is, I think, a slightly fraudulent transaction; I have, more accurately, decided to stop spending energy on the question. I record their existence here because to omit them entirely would be to misrepresent the workplace I am leaving, and to make the warmer thanks above harder to credit. There are also the senior people I disagreed with and did not have the standing to disagree with publicly. I hope I am better placed, in the next role, to disagree audibly. I am not naming any of them either, but they may, if they read this, recognise the shape of what I am gesturing at. None of these are bitter notes. They are also part of what I am carrying forward, and I would rather acknowledge them than pretend I am leaving cleanly.
I had told myself, in advance, that I was going to leave neatly. I had told myself I would write a short professional email, decline the leaving drinks, and walk out under my own steam, with the slightly aloof composure that I had been practising in the mirror since university. The neat exit, I have to report, has not come. I am leaving with a thicker throat than I had budgeted for. I have, this week, said small private goodbyes in stairwells and over kettles that I had not anticipated would matter to me, and that have turned out to matter rather more than the formal goodbye is going to manage to capture. I had not realised, until the past few days, how attached I had become to a particular building, a particular set of desks, a particular kettle, a particular Mr. Anim on the front desk whose first name I learned only six weeks ago, after eighteen months of cheerful smiles, and to whom I would like, here, to apologise for the eighteen months. The neat exit was a story I had told myself in order to feel composed about a transition I did not, on reflection, know how to feel about. There is no clean way to leave a place where, without quite registering it, you have done some of the work of becoming an adult. I would not, in retrospect, want there to be.
I am also, on reflection, aware that this email has now become rather long, and I would like, before I close, to anticipate one possible reading of it and concede that the reading is partly fair. The reading is that the writer has clearly enjoyed writing this; that the writer's awareness of the form is, in the end, just another instrument by which the writer makes themselves visible; and that the right thing to have done, in proper professional taste, would have been to send a paragraph and walk out. The reading is fair. I do not, in defence, have very much to offer. I would say only that I have decided, this week, that the small piece of indulgence is worth the embarrassment of being seen to indulge it, and that some texts are worth the carbon of the disk space they occupy. I will leave it to readers to decide whether this is one of them.
I will close with the only sentence in this email that I want anyone to remember.
The small kindnesses you offer to new starters in their first weeks — answering a stupid question without sighing, walking them to the canteen, knowing their name on day three, defending them quietly in rooms they are not in — turn out, two years later, to have been more important than either of you realised at the time. They are also the part of an office that the official systems will never measure, and that is why they are the part that matters most.
Please stay in touch. My personal email is at the bottom. If any of you are in London on a weekday, I owe rather a number of you a coffee, and have not forgotten which.
With gratitude, with a little embarrassment, and with the recognition that I will, in five years, look back on this email with the affection one reserves for one's own slightly self-important youth,
Sam
Key Vocabulary
transparent adjective
(of communication) open, with reasons or motives explained rather than concealed
"I would like to be transparent about why this email is late."
calibrate verb
to adjust something carefully so it is in the right relation to its context
"Every sentence is calibrated towards more than one reader."
unmediated adjective
direct; not filtered through any device or convention
"The leaving email performs unmediated feeling at precisely the moment when the writer is most aware of being read."
vocation noun
a calling; a kind of work felt to be one's life purpose, more than just a job
"The leaving email tends to behave as if the writer were leaving a vocation."
concession noun
(here) something given reluctantly, often in negotiation; the act of giving in
"She explained without making it feel like a concession."
asymmetry noun
a lack of balance between two sides of a situation or relationship
"There is an asymmetry between forgiving and being forgiven."
structural decency phrase
a kind of decency that is built into how someone behaves rather than performed for show
"His patience was a kind of structural decency."
fraudulent adjective
(here, used loosely) false; involving a kind of dishonesty disguised as something else
"Forgiveness without acknowledgement is a slightly fraudulent transaction."
register (noun) noun
the level of formality or tone in language
"She corrected me in a register that did not sound like correction."
in retrospect phrase
looking back at something now that it is past
"In retrospect, the corrections were more accurate than I thought."
aloof adjective
distant, cool, deliberately uninvolved
"I had been practising an aloof composure for years."
composure noun
calmness of manner, especially in a difficult moment
"The neat exit was a story about composure I told myself."
indulgence noun
the act of allowing oneself something one does not strictly need
"I have decided that the small indulgence is worth the embarrassment."
metatextual adjective
concerning a text's awareness of itself as a text — its commentary on its own form
"The metatextual flagging of the form's limits is itself a rhetorical move."
Questions
Comprehension
  • How does the writer characterise the leaving email as a genre, and how long does the writer say the genre has existed in its current form?
    Answer
    The writer characterises it as a public all-staff message with its own grammar, rhythm, and 'quietly enforced rules' about how much honesty is permitted; and dates the genre's hardening to 'the last fifteen or twenty years'. The dating gestures, without spelling it out, to the rise of corporate email culture in the 2000s.
  • What does the writer say is the choice they actually face when writing this email?
    Answer
    Not between writing the genre and refusing it, but between 'writing the genre badly and writing it with a degree of awareness that the genre itself does not naturally encourage'. The writer says they are going to attempt the second.
  • Why does the writer mention the salary at the new job?
    Answer
    Because they have decided not to leave material details out, against the conventions of the form. The writer argues that the leaving email tends to behave as if the writer were leaving a vocation rather than a job, and that pretending the move is not also about money is part of a small fiction the writer wishes not to participate in.
  • What does the writer say about the multiple audiences for the email?
    Answer
    There are several audiences at once — close colleagues who are friends, senior people whose memories will affect references, colleagues at the edge of the building who will read by virtue of all-staff distribution. The writer argues that no single piece of writing can address all of these audiences with full sincerity simultaneously, and that every sentence is therefore 'calibrated' towards more than one reader. The calibration, the writer says, is itself a form of professional discipline.
  • What does the writer concede about the act of acknowledging the conventions of the form?
    Answer
    That this acknowledgement is itself a recognisable rhetorical move — 'a slightly more sophisticated version of the same performance'. There is no place outside the form from which to write; the writer is choosing only how much of the form to make visible. The writer concedes this rather than claiming to escape it.
  • What does the writer say about Sara, the manager, that distinguishes her from 'one or two of the other kind' of manager?
    Answer
    That she explained things to the writer without ever making the explanation feel like a concession; that she defended the writer in rooms the writer was not in; and that she was a 'serious' manager rather than merely a 'friendly' one. The writer says they have come to recognise that the seriousness is the rarer virtue.
  • What does the writer say about the colleagues whose unkindness they will not name?
    Answer
    The writer will not name them partly because the form does not permit it and partly because the writer has come to suspect those colleagues 'were having harder times than I knew'. The writer has not forgiven them in any active sense — because forgiveness without acknowledgement would be 'a slightly fraudulent transaction' — but has decided to stop spending energy on the question. The writer records their existence so that the warmer thanks above are credible.
  • What is the single sentence the writer wants anyone to remember?
    Answer
    The advice about new starters: that the small kindnesses offered to them in their first weeks turn out, two years later, to have been more important than either party realised at the time, and that these kindnesses are 'the part of an office that the official systems will never measure, and that is why they are the part that matters most'.
Vocabulary
  • Explain the writer's use of 'calibrated' in relation to multiple audiences. What does the metaphor imply about the writing process?
    Answer
    'Calibrated' is borrowed from instruments — a calibrated tool is one carefully adjusted to be in correct relation to its context. The writer is suggesting that each sentence has been adjusted, more or less consciously, towards more than one reader at once. The metaphor implies that writing for a corporate audience is closer to engineering than to expression: it is a precise adjustment of tone, omission, and register, rather than the unfiltered release of feeling. The metaphor's coolness is part of its honesty about what the email is doing.
  • What does the writer mean by 'unmediated feeling', and what is the rhetorical effect of using that phrase to describe the leaving email?
    Answer
    'Unmediated' means not filtered through any convention or device — direct, raw, unprocessed. The writer says the leaving email is 'a performance of unmediated feeling at precisely the moment when the writer is most strategically aware of who is listening'. The phrase exposes the contradiction at the heart of the form: that it claims to give us the writer's heart, while in fact giving us their carefully managed self-presentation. By naming the contradiction, the writer disarms it slightly, though they admit they cannot escape it.
  • What is the function of the word 'granted' at the start of the fifth paragraph?
    Answer
    'Granted' is a concession marker — it signals that the writer is about to admit a counterargument before continuing. By starting the paragraph with it, the writer pre-empts the reader who is about to think 'this meta-commentary is itself a pose'. The writer agrees, in effect, before the reader can object, and then continues anyway, which is a more sophisticated rhetorical move than ignoring the objection. It is also the kind of word that signals the writer's confidence in their reader's intelligence.
  • Identify three places where the writer uses syntax to do work the words alone do not. Describe the effect.
    Answer
    Examples: the long opening sentence, which performs the genre of postponement before naming it. The list-and-loop structure of 'a particular building, a particular set of desks, a particular kettle, a particular Mr. Anim' — the repeated 'particular' lets the catalogue swell from the trivial to the human. The closing concession paragraph, in which the writer anticipates the criticism, concedes it, and offers a defence so modest that it almost agrees with the criticism — the syntax enacts the shape of the concession. In each case, the form of the sentence is part of the meaning.
Inference
  • Why does the writer twice apologise for the length of the email — once at the start and once near the end?
    Suggested interpretation
    The double apology is not redundant. The opening apology frames the length as a deliberate choice, signalling that the writer will not pretend they didn't notice. The later apology is more substantive: it imagines a sceptical reader, voices that reader's likely critique, and concedes that the critique is partly fair. The two apologies do different work — the first is preventive, the second is responsive — and together they form a pair of brackets around the writer's indulgence, asking the reader to grant the writer a form of permission they have not asked for in plain terms.
  • What is the rhetorical function of the apology to Mr. Anim?
    Suggested interpretation
    It is the email's most quietly devastating moment. After the writer has spent paragraphs articulating high-status concerns — the conventions of the genre, the calibration of audiences, the seriousness of management — the apology to the security guard whose first name the writer learned only after eighteen months turns the analysis on the writer themselves. It is a small public confession of class blindness. It also acts as a corrective to the tone of careful self-awareness that has dominated the email: it admits to a real moral lapse, not just a literary one. By doing so, it earns some of the trust that the meta-commentary alone could not.
  • What does the writer mean by the line 'the trace of small, repeated interactions'? Why is the word 'trace' significant?
    Suggested interpretation
    The writer is describing how they have been changed by their colleagues. 'Trace' is a precise word — it implies that the change is faint, hard to read, and present only in marks left behind, not in identifiable events. The writer is acknowledging that the change is real but irrecoverable: there is no single conversation they can point to, only a residue. The word also resists the redemptive narrative that would say 'I learned a lot from X'. The trace metaphor is more accurate, more humble, and slightly more melancholy.
  • What is the writer doing in the closing sign-off — 'with gratitude, with a little embarrassment, and with the recognition that I will, in five years, look back on this email with the affection one reserves for one's own slightly self-important youth'?
    Suggested interpretation
    The writer is performing the final move of the email's argument: predicting their own future criticism of the present text. By naming, in advance, the affectionate-mocking voice with which the older self will read the present email, the writer pre-empts the reader's own version of that voice, and disarms it. It is also a quiet admission that the email has been, partly, an act of youthful self-importance — and a request that the reader treat that self-importance generously, as the writer themselves expects to. The line is funny, generous, and slightly tragic at once.
  • What can we infer about the writer's position in the company? What evidence does the email give?
    Suggested interpretation
    The writer is junior — 23, leaving their first proper job after just over two years. They had, in their own words, 'not the standing' to disagree publicly with senior colleagues. They are also, however, sufficiently senior to have managed client accounts, written briefs, presented in rooms, and to be moving into a role with 'modestly impressive professional skills' transferable to a smaller agency. The writer is, in effect, at the precise inflection point between graduate trainee and junior professional — a transition the email itself is partly recording.
Discussion
  • What is the strongest critique of this email?
    Discussion prompts
    Prompts for discussion: that for all its self-awareness, the email is a performance of self-awareness whose function is to flatter the writer's intelligence and to manage the writer's reputation. That the writer's apparent restraint about unkind colleagues — they are mentioned but not named — produces precisely the cloud of unease the writer claims not to want. That the apology to Mr. Anim is rhetorically convenient — class-blindness named so it can be dispatched. That the email's length is not justified by its content; that the genre exists for a reason, and the reason is consideration of the reader's time. That the literary quality of the prose is itself a class marker, accessible to readers with degrees and excluding those without. The strongest critique recognises that several of these can be true and the email can still be worth reading. The class might consider whether self-awareness is, finally, a defence against criticism, or a way of inviting it.
  • The writer claims that 'the leaving email is a performance of unmediated feeling at precisely the moment when the writer is most strategically aware of who is listening'. Is this a damning observation about the form, or a useful one?
    Discussion prompts
    Prompts for discussion: damning — it suggests the form is structurally dishonest, designed to look spontaneous while being engineered; this should make us suspicious of all such emails, including this one. Useful — naming the contradiction lets us read the form more accurately, and may even open space for a more honest version of it. There is also a third possibility: that all public communication shares this property to some degree, and that the leaving email is unusual only in being more visible about it. The class might consider whether the writer has, by naming the contradiction, escaped it — or simply added another layer to it.
  • The writer describes their own position as 'slightly self-important youth' and predicts they will look back with 'affection' rather than embarrassment. Is this self-knowledge, or is it itself a kind of self-flattery?
    Discussion prompts
    Prompts for discussion: self-knowledge — naming a likely future judgement is a piece of intellectual honesty; the writer is doing in advance what the older self would otherwise do for them. Self-flattery — the line is too charming to be a real critique; it imagines a future self who finds the present self lovable, which is, on inspection, a wish rather than an analysis. Real answer: probably both. The class might also consider whether the affection-not-embarrassment prediction is itself a small piece of class confidence — only people who expect their futures to be largely benign can afford to predict them this fondly.
  • Does the leaving email, as a form, belong to the worker, to the company, or to the genre itself? Who controls its meaning?
    Discussion prompts
    Prompts for discussion: the worker writes it, names what to include, and signs off; the company provides the all-staff distribution list, the workplace context, and the implicit rules about what is permissible; the genre provides the conventions inside which the worker must operate, even when refusing them. None of the three has full control. The class might consider whether the writer of this email has, by treating the form as a literary genre, attempted to shift the centre of gravity towards the worker — and whether this attempt is partly an act of resistance against corporate appropriation of personal transitions.
  • Is the writer's careful refusal to name unkind colleagues, while alluding to their existence, an act of moral discipline or a piece of well-managed passive aggression?
    Discussion prompts
    Prompts for discussion: moral discipline — the writer takes responsibility for not damaging individuals while refusing the false unanimity of total praise; the gesture is in keeping with the writer's general care about asymmetry and consent. Passive aggression — readers will guess who is meant; the writer collects credit for honesty without paying its costs; the cloud of suggestion may be more damaging than direct naming would have been. Real answer: the same act can be read both ways, and that is partly the writer's problem. The class might consider whether the writer's repeated self-correction protects them from this charge — or whether the very volume of self-correction is itself the evidence.
  • Some critics argue that the rise of the leaving email reflects a wider shift in office culture: from solid institutions where careers were built and exit was rare, to fluid markets in which workers move every two or three years and curate their professional reputations across companies. Is this email evidence for or against that thesis?
    Discussion prompts
    Prompts for discussion: for — the writer is leaving after just over two years, has clearly thought about how the email will be read by future colleagues and references, and treats the moment as part of their own professional self-presentation. The form, as the writer says, did not exist in the 1970s. Against — the writer's emotional attachment to a single building, a single kettle, a single security guard suggests the institution mattered more to the writer than the thesis would predict; the email's anxiety about its own performativity may itself be a sign that workers have not fully accepted the new market culture. The class might consider whether the email is, on this reading, a transitional document — written from inside the new culture by someone who has not yet stopped feeling like they belong to the old.
Personal
  • If you wrote a leaving email tomorrow, to a real or imagined workplace or group, what is the part of your gratitude that the conventions would NOT allow you to express directly? How would you express it instead?
    Teacher guidance
    Students' own answers. The question deliberately mirrors the writer's own move. Common: thanks to a friend whose support went beyond the work; thanks for emotional space during a hard year; thanks for the colleague who saw you through a personal crisis. Listen for students who can find a workaround — a private note, a phone call, a small gift, a different setting — for what the public form excludes. The exercise is the imagining; do not push for disclosure. Allow students to speak in the third person if they wish.
  • The writer apologises to Mr. Anim, the security guard, for not knowing his name for eighteen months. Have you ever had a similar moment — when you noticed, with embarrassment, that you had been working or living alongside someone whose existence you had registered only generically?
    Teacher guidance
    Students' own answers. This is a sophisticated question and may not have an immediate answer for everyone. Common: cleaners, security guards, kitchen staff, family members of friends, neighbours. Listen for the moment of recognition — when the student realises they had treated someone as background rather than as a person. Some students will not have had this experience; that is also valid. Do not push for a confession of guilt; the recognition itself is the point of the exercise.
  • The writer predicts that in five years they will look at this email with 'the affection one reserves for one's own slightly self-important youth'. Is there a piece of writing or speech you have produced — at school, online, in a private message — that you now look at with something like that affection? Or with embarrassment?
    Teacher guidance
    Students' own answers. Common: an old social media post, an essay from school, a love letter, a job application, a speech at a family event. Listen for the tone of the relationship the student now has with their younger self — affectionate, embarrassed, dismissive, protective. The most thoughtful answers are usually those that hold both feelings at once. Allow students who do not want to share to write privately; the private writing is more useful than performed disclosure.
Writing Task
Prompt
Write an open leaving email of approximately 700–800 words, addressed to a real or imagined workplace, school, sports team, or community group. Treat this as a piece of literary nonfiction, not a routine professional message. Your email must do all of the following: (1) acknowledge, somewhere in the body, the conventions of the leaving-email genre and your relationship to them; (2) include at least two passages of specific physical detail — a room, a sound, an object, a kettle, a desk — that anchor the analysis; (3) name two specific people, each tied to a specific quoted phrase or remembered exchange, with at least one of the thanks running longer than expected; (4) acknowledge, without naming, the existence of difficulty, unkindness, or things not learned cleanly; (5) include a moment of self-correction or self-aware vanity (class blindness, professional posture, anticipated future embarrassment); (6) end with one sentence the writer wants to be remembered, and refuse easy resolution at the close. Aim for a voice that is intelligent, slightly funny, willing to qualify itself, and ungovernable by the form even as it operates inside it.
Model Answer

Subject: With apologies and a final small confession

Hi everyone,

I have been writing and deleting versions of this email since Monday, on the bus, in bed, and twice during a meeting I should have been paying attention to, and I would like to begin by being honest about the abandoned drafts. The first was philosophical and pleased with itself. The second tried to be brisk, professional, and almost unreadable in its blandness. The third — the one I am now correcting — turned out to be too long, too literary, and faintly embarrassed about both of those things. I have decided, with some discomfort, to send the third anyway, on the working assumption that an email written under the wrong constraints is more useful than no email at all. Please skim the parts you find self-indulgent. There will be several to choose from.

Friday is my last day at the bookshop. I joined three years ago, when I was 22, after I had abandoned a master's degree in a field I am no longer prepared to name in mixed company. I had told the manager, at interview, that I would stay 'for the summer'. I am leaving, by my own count, ten quarters later, with an apology owed to her about the original timeline and considerable affection for the room itself: the dust on the philosophy shelves, the small electric kettle that has now produced something in the region of nine thousand cups of tea, the chair behind the till in which I have done some of my best thinking and most of my worst posture.

I want to thank Anna in particular. You said to me, in my second week, 'You are about to recommend a book you have not read; please do not do that.' You said it without irritation. I have not, since, recommended a book I have not read. The instruction has gone with me into adult life as a small ethical principle that has, on inspection, surprisingly wide application. I want, also, to thank Marek, who taught me how to talk to a customer who has come into the shop because they are lonely rather than because they want a book. The skill is, on the whole, more useful than I had imagined a bookshop job would teach me.

There are people I am not going to name whose unkindness I have, in retrospect, mostly stopped being angry about. I have come to suspect they were tired in ways the work could not address. I am not going to forgive them, because no one has asked, and forgiveness without an asking-for is a slightly fraudulent gesture; I have decided, more accurately, to spend the energy elsewhere. I record their existence here because to omit them would make the warmer thanks above harder to credit, and because the bookshop has been, like all real workplaces, an uneven institution, partly wonderful and partly difficult, and I would rather acknowledge the unevenness than pretend.

I must apologise also to Mrs Wynne, who has been coming into the shop every Thursday morning for the last two and a half years to complain, in detail, about the philosophy section, and whose first name I learned only last week. I had thought of her, with affection, as 'the Thursday lady'. She is in fact a retired professor of moral philosophy. I have, in eighteen Thursdays, missed the chance to ask her almost everything she would have known. I would like, in passing, to make a small public correction: she is right about Spinoza, and I have been wrong.

I had told myself I would leave neatly. I had told myself I would write a paragraph, decline the leaving drinks, and be elsewhere by six. The neat departure has not, on inspection, arrived. I am leaving with a thicker throat than I had budgeted for, an unanticipated number of small private goodbyes, and the slightly embarrassing recognition that the bookshop has been more important to me than I had let myself believe. The dust on the philosophy shelves is, in some sense, mine.

If there is a single line worth taking from this email, it is this: be patient with the new staff, especially in the first month, when they will be apologising for things that are not their fault and asking questions whose answers seem, to you, obvious. The patience you offer them now will turn into, in two years, the kind of colleague they become. It is, on reflection, the only training the shop has ever really given anyone.

With gratitude, with embarrassment, and with the dust still on my hands,

Lena

Activities
  • Sustained close reading: in pairs or threes, students annotate the email for every place where the writer corrects, qualifies, or undercuts themselves, and for every place where the syntax is doing work the words alone do not. Discuss whether the cumulative effect is honesty, performance, or both.
  • Genre essay: students write a 600-word essay on the proposition 'The leaving email has become a literary form. What does the writer of this email gain, and what do they risk, by treating it as one?' They should reference at least three specific passages.
  • Voice analysis: identify five moments in the email where the writer's register shifts (from analytical to colloquial, from confident to provisional, from sociological to confessional). For each, write a short paragraph on what the shift achieves.
  • Critical writing: students write a 300-word piece in the voice of a sceptical reader who argues that the email is too long, too literary, too pleased with itself, and structurally unfair to colleagues whose unkindness is mentioned but not named. Then they write 300 words in defence. Both pieces are discussed in class.
  • Comparative reading: bring in (or assign in advance) a real published 'goodbye email' from a public figure, a viral office post, or a celebrity's social media. Compare with the C2 text. Where does the published example fall into the conventions the C2 writer names? Where, if anywhere, does it escape them?
  • Imitation with constraint: students write a paragraph that includes (a) a specific physical scene with a sensory detail, (b) a moment of self-correction, (c) a refusal of a redemptive line that the convention would expect, and (d) a single line of advice the writer claims they want to be remembered. The constraints force sharper writing.
  • Discussion: 'Is the second person — the colleagues who will read this email — fundamentally a literary device or fundamentally a real audience?' Students take positions and defend them with reference to the text. Consider whether the writer has, in practice, addressed all of the audiences the email lists, or only some of them.
  • Reflective writing (private): students write, but do not share, the leaving email they would write if no one in the office could read it. Discuss afterwards what was hard and what surprised them — without disclosing content.
  • Critical reading and rewriting: students take the paragraph in which the writer acknowledges the colleagues they will not name. Rewrite it in three versions: (a) naming everyone explicitly; (b) omitting the paragraph entirely; (c) keeping the paragraph but changing the tone. Discuss what is lost and gained in each version. The exercise reveals how much of the writer's voice depends on this single rhetorical decision.

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