what is a biography in a book

What Is Biography? Definition, Usage, and Literary Examples

Biography definition.

A  biography  (BYE-og-ruh-fee) is a written account of one person’s life authored by another person. A biography includes all pertinent details from the subject’s life, typically arranged in a chronological order. The word  biography  stems from the Latin  biographia , which succinctly explains the word’s definition:  bios  = “life” +  graphia  = “write.”

Since the advent of the written word, historical writings have offered information about real people, but it wasn’t until the 18th century that biographies evolved into a separate literary genre.  Autobiographies  and memoirs fall under the broader biography genre, but they are distinct literary forms due to one key factor: the subjects themselves write these works. Biographies are popular source materials for documentaries, television shows, and motion pictures.

The History of Biographies

The biography form has its roots in Ancient Rome and Greece. In 44 BCE, Roman writer Cornelius Nepos published  Excellentium Imperatorum Vitae  ( Lives of the Generals ), one of the earliest recorded biographies. In 80 CE, Greek writer Plutarch released  Parallel Lives , a sweeping work consisting of 48 biographies of famous men. In 121 CE, Roman historian Suetonius wrote  De vita Caesarum  ( On the Lives of the Caesars ), a series of 12 biographies detailing the lives of Julius Caesar and the first 11 emperors of the Roman Empire. These were among the most widely read biographies of their time, and at least portions of them have survived intact over the millennia.

During the Middle Ages, the Roman Catholic Church had a notable influence on biographies. Historical, political, and cultural biographies fell out of favor. Biographies of religious figures—including saints, popes, and church founders—replaced them. One notable exception was Italian painter/architect Giorgio Vasari’s 1550 biography,  The Lives of the Most Excellent Painters, Sculptors, and Architects , which was immensely popular. In fact, it is one of the first examples of a bestselling book.

Still, it wasn’t until the 18th century that authors began to abandon multiple subjects in a single work and instead focus their research and writing on one subject. Scholars consider James Boswell’s 1791  The Life of Samuel Johnson  to be the first modern biography. From here, biographies were established as a distinct literary genre, separate from more general historical writing.

As understanding of psychology and sociology grew in the 19th and early 20th centuries, biographies further evolved, offering up even more comprehensive pictures of their subjects. Authors who played major roles in this contemporary approach to biographing include Lytton Strachey, Gamaliel Bradford, and Robert Graves.

Types of Biographies

While all biographical works chronicle the lives of real people, writers can present the information in several different ways.

• Popular biographies are life histories written for a general readership.  The Immortal Life of Henrietta Lacks  by Rebecca Skloot and  Into the Wild  by Jon Krakauer are two popular examples.
• Critical biographies discuss the relationship between the subject’s life and the work they produced or were involved in; for example,  The Billionaire Who Wasn’t: How Chuck Feeney Secretly Made and Gave Away a Fortune  by Conor O’Clery and  Unpresidented: A Biography of Donald Trump  by Martha Brockenbrough.
• Historical biographies put greater understanding on how the subject’s life and contributions affected or were affected by the times in which they lived; see  John Adams  by David McCullough and  Catherine the Great  by Peter K. Massie.
• Literary biographies concentrate almost exclusively on writers and artists, blending a conventional  narrative  of the historical facts of the subject’s life with an exploration of how these facts impacted their creative output. Some examples include  Savage Beauty: The Life of Edna St. Vincent Millay  by Nancy Milford and  Jackson Pollock: An American Saga  by Gregory White Smith and Steven Naifeh.
• Reference biographies are more scholarly writings, usually written by multiple authors and covering multiple lives around a single topic. They verify facts, provide background details, and contribute supplemental information resources, like bibliographies, glossaries, and historical documents; for example,  Black Americans in Congress, 1870-2007  and the  Dictionary of Canadian Biography .
• Fictional biographies, or biographical novels, like  The Other Boleyn Girl  by Philippa Gregory, incorporate creative license into the retelling of a real person’s story by taking on the structure and freedoms of a novel. The term can also describe novels in which authors give an abundance of background information on their characters, to the extent that the novel reads more like a biography than fiction. An example of this is George R.R. Martin’s  Fire and Blood , a novel detailing the history of a royal family from his popular  A Song of Ice and Fire

Biographies and Filmed Entertainment

Movie makers and television creators frequently produce biographical stories, either as dramatized productions based on real people or as nonfiction accounts.

Documentary

This genre is a nonfictional movie or television show that uses historical records to tell the story of a subject. The subject might be a one person or a group of people, or it might be a certain topic or theme. To present a biography in a visually compelling way, documentaries utilize archival footage, recreations, and interviews with subjects, scholars, experts, and others associated with the subject.

Famous film documentaries include  Grey Gardens,  a biography of two of Jacqueline Kennedy’s once-wealthy cousins, who, at the time of filming, lived in squalor in a condemned mansion in the Hamptons; and  I Am Not Your Negro , a biography of the life and legacy of pioneering American author James Baldwin.

Television documentary series tell one story over the course of several episodes, like  The Jinx :  The Life and Deaths of Robert Durst , a biography of the real estate heir and alleged serial killer that focused on his suspected crimes. There are many nonfiction television shows that use a documentary format, but subjects typically change from one episode to the next, such as A&E’s  Biography  and PBS’s  POV .

These films are biographical motion pictures, written by screenwriters and performed by actors. They often employ a certain amount of creative liberty in their interpretation of a real life. This is largely done to maintain a feasible runtime; capturing all of the pivotal moments of a subject’s life in a 90- or 120-minute movie is all but impossible. So, filmmakers might choose to add, eliminate, or combine key events and characters, or they may focus primarily on one or only a few aspects of the subject’s life. Some popular examples:  Coal Miner’s Daughter , a biography of country music legend Loretta Lynn;  Malcom X , a biopic centered on the civil rights leader of the same name; and  The King’s Speech , a dramatization of Prince Albert’s efforts to overcome a stutter and ascend the English throne.

Semi-fictionalized account

This approach takes a real-life event and interprets or expands it in ways that stray beyond what actually happened. This is done for entertainment and to build the story so it fits the filmmaker’s vision or evolves into a longer form, such as a multi-season television show. These accounts sometimes come with the disclaimer that they are “inspired by true events.” Examples of semi-fictionalized accounts are the TV series  Orange Is the New Black ,  Masters of Sex , and  Mozart of the Jungle —each of which stem from at least one biographical element, but showrunners expounded upon to provide many seasons of entertainment.

The Functions of Biography

Biographies inform readers about the life of a notable person. They are a way to introduce readers to the work’s subject—the historical details, the subject’s motivations and psychological underpinnings, and their environment and the impact they had, both in the short and long term.

Because the author is somewhat removed from their subject, they can offer a more omniscient, third-person narrative account. This vantage point allows the author to put certain events into a larger context; compare and contrast events, people, and behaviors predominant in the subject’s life; and delve into psychological and sociological themes of which the subject may not have been aware.

Also, a writer structures a biography to make the life of the subject interesting and readable. Most biographers want to entertain as well as inform, so they typically use a traditional  plot  structure—an introduction,  conflict , rising of tension, a climax, a resolution, and an ending—to give the life story a narrative shape. While the ebb and flow of life is a normal day-to-day rhythm, it doesn’t necessarily make for entertaining reading. The job of the writer, then, becomes one of shaping the life to fit the elements of a good plot.

Writers Known for Biographies

Many modern writers have dedicated much of their careers to biographies, such as:

• Kitty Kelley, author of  Jackie Oh! An Intimate Biography; His Way: The Unauthorized Biography of Frank Sinatra ; and  The Family: The Real Story of the Bush Dynasty
• Antonia Fraser, author of  Mary Queen of Scots ;  Cromwell; Our Chief of Men ; and  The Gunpowder Plot: Terror and Faith in 1605
• David McCullough, author of  The Path Between the Seas; Truman ; and  John Adams
• Andrew Morton, author of  Diana: Her True Story in Her Own Words; Madonna ; and  Tom Cruise: An Unauthorized Biography
• Alison Weir, author of  The Six Wives of Henry VIII; Eleanor of Aquitaine: By the Wrath of God; Queen of England ; and  Katherine Swynford: The Story of John of Gaunt and His Scandalous Duchess

Examples of Biographies

1. James Boswell,  The Life of Samuel Johnson

The biography that ushered in the modern era of true-life writing,  The Life of Samuel Johnson  covered the entirety of its subject’s life, from his birth to his status as England’s preeminent writer to his death. Boswell was a personal acquaintance of Johnson, so he was able to draw on voluminous amounts of personal conversations the two shared.

What also sets this biography apart is, because Boswell was a contemporary of Johnson, readers see Johnson in the context of his own time. He wasn’t some fabled figure that a biographer was writing about centuries later; he was someone to whom the author had access, and Boswell could see the real-world influence his subject had on life in the here and now.

2. Sylvia Nasar,  A Beautiful Mind

Nasar’s 1998 Pulitzer Prize-nominated biography of mathematician John Nash introduced legions of readers to Nash’s remarkable life and genius. The book opens with Nash’s childhood and follows him through his education, career, personal life, and struggles with schizophrenia. It ends with his acceptance of the 1994 Nobel Prize for Economics. In addition to a Pulitzer nomination,  A Beautiful Mind  won the National Book Critics Circle Award for Biography, was a  New York Times  bestseller, and provided the basis for the Academy Award-winning 2001 film of the same name.

3. Catherine Clinton,  Harriet Tubman: The Road to Freedom

Clinton’s biography of the abolitionist icon is a large-scale epic that chronicles Tubman’s singular life. It starts at her birth in the 1820s as the slave Araminta Ross, continuing through her journey to freedom; her pivotal role in the Underground Railroad; her Moses-like persona; and her death in 1913.

Because Tubman could not read or write, she left behind no letters, diaries, or other personal papers in her own hand and voice. Clinton reconstructed Tubman’s history entirely through other source material, and historians often cite this work as the quintessential biography of Tubman’s life.

4. Megan Mayhew Bergman,  Almost Famous Women

Almost Famous Women  is not a biography in the strictest sense of the word; it is a fictional interpretation of real-life women. Each short story revolves around a woman from history with close ties to fame, such as movie star Marlene Dietrich, Standard Oil heiress Marion “Joe” Carstairs, aviatrix Beryl Markham, Oscar Wilde’s niece Dolly, and Lord Byron’s daughter Allegra. Mayhew Bergman imagines these colorful women in equally colorful episodes that put them in a new light—a light that perhaps offers them the honor and homage that history denied them.

Further Resources on Biography

Newsweek  compiled their picks for the  75 Best Biographies of All Time .

The Open Education Database has a list of  75 Biographies to Read Before You Die .

Goodreads put together a list of readers’  best biography selections .

If you’re looking to write biographies,  Infoplease  has instructions for writing shorter pieces, while  The Writer   has practical advice for writing manuscript-length bios.

Ranker  collected  a comprehensive list of famous biographers .

Related Terms

• Autobiography
• Short Story

Definition of Biography

A biography is the non- fiction , written history or account of a person’s life. Biographies are intended to give an objective portrayal of a person, written in the third person. Biographers collect information from the subject (if he/she is available), acquaintances of the subject, or in researching other sources such as reference material, experts, records, diaries, interviews, etc. Most biographers intend to present the life story of a person and establish the context of their story for the reader, whether in terms of history and/or the present day. In turn, the reader can be reasonably assured that the information presented about the biographical subject is as true and authentic as possible.

Biographies can be written about a person at any time, no matter if they are living or dead. However, there are limitations to biography as a literary device. Even if the subject is involved in the biographical process, the biographer is restricted in terms of access to the subject’s thoughts or feelings.

Biographical works typically include details of significant events that shape the life of the subject as well as information about their childhood, education, career, and relationships. Occasionally, a biography is made into another form of art such as a film or dramatic production. The musical production of “Hamilton” is an excellent example of a biographical work that has been turned into one of the most popular musical productions in Broadway history.

Common Examples of Biographical Subjects

Most people assume that the subject of a biography must be a person who is famous in some way. However, that’s not always the case. In general, biographical subjects tend to be interesting people who have pioneered something in their field of expertise or done something extraordinary for humanity. In addition, biographical subjects can be people who have experienced something unusual or heartbreaking, committed terrible acts, or who are especially gifted and/or talented.

As a literary device, biography is important because it allows readers to learn about someone’s story and history. This can be enlightening, inspiring, and meaningful in creating connections. Here are some common examples of biographical subjects:

• political leaders
• entrepreneurs
• historical figures
• serial killers
• notorious people
• political activists
• adventurers/explorers
• religious leaders
• military leaders
• cultural figures

Famous Examples of Biographical Works

The readership for biography tends to be those who enjoy learning about a certain person’s life or overall field related to the person. In addition, some readers enjoy the literary form of biography independent of the subject. Some biographical works become well-known due to either the person’s story or the way the work is written, gaining a readership of people who may not otherwise choose to read biography or are unfamiliar with its form.

Here are some famous examples of biographical works that are familiar to many readers outside of biography fans:

• Alexander Hamilton (Ron Chernow)
• Prairie Fires: The American Dreams of Laura Ingalls Wilder (Caroline Fraser)
• Steve Jobs (Walter Isaacson)
• Churchill: A Life (Martin Gilbert)
• The Professor and the Madman: A Tale of Murder, Insanity, and the Making of the Oxford English Dictionary (Simon Winchester)
• A Beautiful Mind (Sylvia Nasar)
• The Black Rose (Tananarive Due)
• John Adams (David McCullough)
• Into the Wild ( Jon Krakauer )
• John Brown (W.E.B. Du Bois)
• Frida: A Biography of Frida Kahlo (Hayden Herrera)
• The Immortal Life of Henrietta Lacks (Rebecca Skloot)
• Team of Rivals: The Political Genius of Abraham Lincoln (Doris Kearns Goodwin)
• Shirley Jackson : A Rather Haunted Life ( Ruth Franklin)
• the stranger in the Woods: The Extraordinary Story of the Last True Hermit (Michael Finkel)

Difference Between Biography, Autobiography, and Memoir

Biography, autobiography , and memoir are the three main forms used to tell the story of a person’s life. Though there are similarities between these forms, they have distinct differences in terms of the writing, style , and purpose.

A biography is an informational narrative and account of the life history of an individual person, written by someone who is not the subject of the biography. An autobiography is the story of an individual’s life, written by that individual. In general, an autobiography is presented chronologically with a focus on key events in the person’s life. Since the writer is the subject of an autobiography, it’s written in the first person and considered more subjective than objective, like a biography. In addition, autobiographies are often written late in the person’s life to present their life experiences, challenges, achievements, viewpoints, etc., across time.

Memoir refers to a written collection of a person’s significant memories, written by that person. Memoir doesn’t generally include biographical information or chronological events unless it’s relevant to the story being presented. The purpose of memoir is reflection and an intention to share a meaningful story as a means of creating an emotional connection with the reader. Memoirs are often presented in a narrative style that is both entertaining and thought-provoking.

Examples of Biography in Literature

An important subset of biography is literary biography. A literary biography applies biographical study and form to the lives of artists and writers. This poses some complications for writers of literary biographies in that they must balance the representation of the biographical subject, the artist or writer, as well as aspects of the subject’s literary works. This balance can be difficult to achieve in terms of judicious interpretation of biographical elements within an author’s literary work and consideration of the separate spheres of the artist and their art.

Literary biographies of artists and writers are among some of the most interesting biographical works. These biographies can also be very influential for readers, not only in terms of understanding the artist or writer’s personal story but the context of their work or literature as well. Here are some examples of well-known literary biographies:

Example 1:  Savage Beauty: The Life of Edna St. Vincent Millay  (Nancy Milford)

One of the first things Vincent explained to Norma was that there was a certain freedom of language in the Village that mustn’t shock her. It wasn’t vulgar. ‘So we sat darning socks on Waverly Place and practiced the use of profanity as we stitched. Needle in, . Needle out, piss. Needle in, . Needle out, c. Until we were easy with the words.’

This passage reflects the way in which Milford is able to characterize St. Vincent Millay as a person interacting with her sister. Even avid readers of a writer’s work are often unaware of the artist’s private and personal natures, separate from their literature and art. Milford reflects the balance required on the part of a literary biographer of telling the writer’s life story without undermining or interfering with the meaning and understanding of the literature produced by the writer. Though biographical information can provide some influence and context for a writer’s literary subjects, style, and choices , there is a distinction between the fictional world created by a writer and the writer’s “real” world. However, a literary biographer can illuminate the writer’s story so that the reader of both the biography and the biographical subject’s literature finds greater meaning and significance.

Example 2:  The Invisible Woman: The Story of Nelly Ternan and Charles Dickens  (Claire Tomalin)

The season of domestic goodwill and festivity must have posed a problem to all good Victorian family men with more than one family to take care of, particularly when there were two lots of children to receive the demonstrations of paternal love.

Tomalin’s literary biography of Charles Dickens reveals the writer’s extramarital relationship with a woman named Nelly Ternan. Tomalin presents the complications that resulted for Dickens from this relationship in terms of his personal and family life as well as his professional writing and literary work. Revealing information such as an extramarital relationship can influence the way a reader may feel about the subject as a person, and in the case of literary biography it can influence the way readers feel about the subject’s literature as well. Artists and writers who are beloved , such as Charles Dickens, are often idealized by their devoted readers and society itself. However, as Tomalin’s biography of Dickens indicates, artists and writers are complicated and as subject to human failings as anyone else.

Example 3:  Virginia Woolf  (Hermione Lee)

‘A self that goes on changing is a self that goes on living’: so too with the biography of that self. And just as lives don’t stay still, so life-writing can’t be fixed and finalised. Our ideas are shifting about what can be said, our knowledge of human character is changing. The biographer has to pioneer, going ‘ahead of the rest of us, like the miner’s canary, testing the atmosphere , detecting falsity, unreality, and the presence of obsolete conventions’. So, ‘There are some stories which have to be retold by each generation’. She is talking about the story of Shelley, but she could be talking about her own life-story.

In this passage, Lee is able to demonstrate what her biographical subject, Virginia Woolf, felt about biography and a person telling their own or another person’s story. Literary biographies of well-known writers can be especially difficult to navigate in that both the author and biographical subject are writers, but completely separate and different people. As referenced in this passage by Lee, Woolf was aware of the subtleties and fluidity present in a person’s life which can be difficult to judiciously and effectively relay to a reader on the part of a biographer. In addition, Woolf offers insight into the fact that biographers must make choices in terms of what information is presented to the reader and the context in which it is offered, making them a “miner’s canary” as to how history will view and remember the biographical subject.

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What Is a Biography?

Learning from the experiences of others is what makes us human.

At the core of every biography is the story of someone’s humanity. While biographies come in many sub-genres, the one thing they all have in common is loyalty to the facts, as they’re available at the time. Here’s how we define biography, a look at its origins, and some popular types.

“Biography” Definition

A biography is simply the story of a real person’s life. It could be about a person who is still alive, someone who lived centuries ago, someone who is globally famous, an unsung hero forgotten by history, or even a unique group of people. The facts of their life, from birth to death (or the present day of the author), are included with life-changing moments often taking center stage. The author usually points to the subject’s childhood, coming-of-age events, relationships, failures, and successes in order to create a well-rounded description of her subject.

Biographies require a great deal of research. Sources of information could be as direct as an interview with the subject providing their own interpretation of their life’s events. When writing about people who are no longer with us, biographers look for primary sources left behind by the subject and, if possible, interviews with friends or family. Historical biographers may also include accounts from other experts who have studied their subject.

The biographer’s ultimate goal is to recreate the world their subject lived in and describe how they functioned within it. Did they change their world? Did their world change them? Did they transcend the time in which they lived? Why or why not? And how? These universal life lessons are what make biographies such a meaningful read.

Origins of the Biography

Greco-Roman literature honored the gods as well as notable mortals. Whether winning or losing, their behaviors were to be copied or seen as cautionary tales. One of the earliest examples written exclusively about humans is Plutarch’s Parallel Lives (probably early 2 nd century AD). It’s a collection of biographies in which a pair of men, one Greek and one Roman, are compared and held up as either a good or bad example to follow.

In the Middle Ages, Einhard’s The Life of Charlemagne (around 817 AD) stands out as one of the most famous biographies of its day. Einhard clearly fawns over Charlemagne’s accomplishments throughout, yet it doesn’t diminish the value this biography has brought to centuries of historians since its writing.

Considered the earliest modern biography, The Life of Samuel Johnson (1791) by James Boswell looks like the biographies we know today. Boswell conducted interviews, performed years of research, and created a compelling narrative of his subject.

The genre evolves as the 20th century arrives, and with it the first World War. The 1920s saw a boom in autobiographies in response. Robert Graves’ Good-Bye to All That (1929) is a coming-of age story set amid the absurdity of war and its aftermath. That same year, Mahatma Gandhi wrote The Story of My Experiments with Truth , recalling how the events of his life led him to develop his theories of nonviolent rebellion. In this time, celebrity tell-alls also emerged as a popular form of entertainment. With the horrors of World War II and the explosion of the civil rights movement, American biographers of the late 20 th century had much to archive. Instantly hailed as some of the best writing about the war, John Hersey’s Hiroshima (1946) tells the stories of six people who lived through those world-altering days. Alex Haley wrote the as-told-to The Autobiography of Malcom X (1965). Yet with biographies, the more things change, the more they stay the same. One theme that persists is a biographer’s desire to cast its subject in an updated light, as in Eleanor and Hick: The Love Affair that Shaped a First Lady by Susan Quinn (2016).

Types of Biographies

Contemporary Biography: Authorized or Unauthorized

The typical modern biography tells the life of someone still alive, or who has recently passed. Sometimes these are authorized — written with permission or input from the subject or their family — like Dave Itzkoff’s intimate look at the life and career of Robin Williams, Robin . Unauthorized biographies of living people run the risk of being controversial. Kitty Kelley’s infamous His Way: The Unauthorized Biography of Frank Sinatra so angered Sinatra, he tried to prevent its publication.

Historical Biography

The wild success of Lin-Manuel Miranda’s Hamilton is proof that our interest in historical biography is as strong as ever. Miranda was inspired to write the musical after reading Ron Chernow’s Alexander Hamilton , an epic 800+ page biography intended to cement Hamilton’s status as a great American. Paula Gunn Allen also sets the record straight on another misunderstood historical figure with Pocahontas: Medicine Woman, Spy, Entrepreneur, Diplomat , revealing details about her tribe, her family, and her relationship with John Smith that are usually missing from other accounts. Historical biographies also give the spotlight to people who died without ever getting the recognition they deserved, such as The Immortal Life of Henrietta Lacks .

Biography of a Group

When a group of people share unique characteristics, they can be the topic of a collective biography. The earliest example of this is Captain Charles Johnson’s A General History of the Pirates (1724), which catalogs the lives of notorious pirates and establishes the popular culture images we still associate with them. Smaller groups are also deserving of a biography, as seen in David Hajdu’s Positively 4th Street , a mesmerizing behind-the-scenes look at the early years of Bob Dylan, Joan Baez, Mimi Baez Fariña, and Richard Fariña as they establish the folk scene in New York City. Likewise, British royal family fashion is a vehicle for telling the life stories of four iconic royals – Queen Elizabeth II, Diana, Kate, and Meghan – in HRH: So Many Thoughts on Royal Style by style journalist Elizabeth Holmes.

Autobiography

This type of biography is written about one’s self, spanning an entire life up to the point of its writing. One of the earliest autobiographies is Saint Augustine’s The Confessions (400), in which his own experiences from childhood through his religious conversion are told in order to create a sweeping guide to life. Maya Angelou’s I Know Why the Caged Bird Sings is the first of six autobiographies that share all the pain of her childhood and the long road that led to her work in the civil rights movement, and a beloved, prize-winning writer.

Memoirs are a type of autobiography, written about a specific but vital aspect of one’s life. In Toil & Trouble , Augusten Burroughs explains how he has lived his life as a witch. Mikel Jollett’s Hollywood Park recounts his early years spent in a cult, his family’s escape, and his rise to success with his band, The Airborne Toxic Event. Barack Obama’s first presidential memoir, A Promised Land , charts his path into politics and takes a deep dive into his first four years in office.

Fictional Biography

Fictional biographies are no substitute for a painstakingly researched scholarly biography, but they’re definitely meant to be more entertaining. Z: A Novel of Zelda Fitzgerald by Therese Anne Fowler constructs Zelda and F. Scott’s wild, Jazz-Age life, told from Zelda’s point of view. The Only Woman in the Room by Marie Benedict brings readers into the secret life of Hollywood actress and wartime scientist, Hedy Lamarr. These imagined biographies, while often whimsical, still respect the form in that they depend heavily on facts when creating setting, plot, and characters.

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Posted on Jun 30, 2023

How to Write a Biography: A 7-Step Guide [+Template]

From time to time, nonfiction authors become so captivated by a particular figure from either the present or the past, that they feel compelled to write an entire book about their life. Whether casting them as heroes or villains, there is an interesting quality in their humanity that compels these authors to revisit their life paths and write their story.

However, portraying someone’s life on paper in a comprehensive and engaging way requires solid preparation. If you’re looking to write a biography yourself, in this post we’ll share a step-by-step blueprint that you can follow. 

How to write a biography: 

1. Seek permission when possible 

2. research your subject thoroughly, 3. do interviews and visit locations, 4. organize your findings, 5. identify a central thesis, 6. write it using narrative elements, 7. get feedback and polish the text.

FREE RESOURCE

Biography Outline Template

Craft a satisfying story arc for your biography with our free template.

While you technically don’t need permission to write about public figures (or deceased ones), that doesn't guarantee their legal team won't pursue legal action against you. Author Kitty Kelley was sued by Frank Sinatra before she even started to write His Way , a biography that paints Ol Blue Eyes in a controversial light. (Kelley ended up winning the lawsuit, however).  

Whenever feasible, advise the subject’s representatives of your intentions. If all goes according to plan, you’ll get a green light to proceed, or potentially an offer to collaborate. It's a matter of common sense; if someone were to write a book about you, you would likely want to know about it well prior to publication. So, make a sincere effort to reach out to their PR staff to negotiate an agreement or at least a mutual understanding of the scope of your project. 

At the same time, make sure that you still retain editorial control over the project, and not end up writing a puff piece that treats its protagonist like a saint or hero. No biography can ever be entirely objective, but you should always strive for a portrayal that closely aligns with facts and reality.

If you can’t get an answer from your subject, or you’re asked not to proceed forward, you can still accept the potential repercussions and write an unauthorized biography . The “rebellious act” of publishing without consent indeed makes for great marketing, though it’ll likely bring more headaches with it too. 

✋ Please note that, like other nonfiction books, if you intend to release your biography with a publishing house , you can put together a book proposal to send to them before you even write the book. If they like it enough, they might pay you an advance to write it.  

Book Proposal Template

Craft a professional pitch for your nonfiction book with our handy template.

Once you’ve settled (or not) the permission part, it’s time to dive deep into your character’s story.  

Deep and thorough research skills are the cornerstone of every biographer worth their salt. To paint a vivid and accurate portrait of someone's life, you’ll have to gather qualitative information from a wide range of reliable sources. 

Start with the information already available, from books on your subject to archival documents, then collect new ones firsthand by interviewing people or traveling to locations. 

Browse the web and library archives

Put your researcher hat on and start consuming any piece on your subject you can find, from their Wikipedia page to news articles, interviews, TV and radio appearances, YouTube videos, podcasts, books, magazines, and any other media outlets they may have been featured in. 

Establish a system to orderly collect the information you find 一 even seemingly insignificant details can prove valuable during the writing process, so be sure to save them. 

Depending on their era, you may find most of the information readily available online, or you may need to search through university libraries for older references. 

For his landmark biography of Alexander Hamilton, Ron Chernow spent untold hours at Columbia University’s library , reading through the Hamilton family papers, visiting the New York Historical Society, as well as interviewing the archivist of the New York Stock Exchange, and so on. The research process took years, but it certainly paid off. Chernow discovered that Hamilton created the first five securities originally traded on Wall Street. This finding, among others, revealed his significant contributions to shaping the current American financial and political systems, a legacy previously often overshadowed by other founding fathers. Today Alexander Hamilton is one of the best-selling biographies of all time, and it has become a cultural phenomenon with its own dedicated musical. 

Besides reading documents about your subject, research can help you understand the world that your subject lived in. 

Try to understand their time and social environment

Many biographies show how their protagonists have had a profound impact on society through their philosophical, artistic, or scientific contributions. But at the same time, it’s worth it as a biographer to make an effort to understand how their societal and historical context influenced their life’s path and work.

An interesting example is Stephen Greenblatt’s Will in the World . Finding himself limited by a lack of verified detail surrounding William Shakespeare's personal life, Greenblatt, instead, employs literary interpretation and imaginative reenactments to transport readers back to the Elizabethan era. The result is a vivid (though speculative) depiction of the playwright's life, enriching our understanding of his world.

Many readers enjoy biographies that transport them to a time and place, so exploring a historical period through the lens of a character can be entertaining in its own right. The Diary of Samuel Pepys became a classic not because people were enthralled by his life as an administrator, but rather from his meticulous and vivid documentation of everyday existence during the Restoration period.

Once you’ve gotten your hands on as many secondary sources as you can find, you’ll want to go hunting for stories first-hand from people who are (or were) close to your subject.

With all the material you’ve been through, by now you should already have a pretty good picture of your protagonist. But you’ll surely have some curiosities and missing dots in their character arc to figure out, which you can only get by interviewing primary sources.

Interview friends and associates

This part is more relevant if your subject is contemporary, and you can actually meet up or call with relatives, friends, colleagues, business partners, neighbors, or any other person related to them. 

In writing the popular biography of Steve Jobs, Walter Isaacson interviewed more than one hundred people, including Jobs’s family, colleagues, former college mates, business rivals, and the man himself.

🔍 Read other biographies to get a sense of what makes a great one. Check out our list of the 30 best biographies of all time , or take our 30-second quiz below for tips on which one you should read next. 

Which biography should you read next?

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When you conduct your interviews, make sure to record them with high quality audio you can revisit later. Then use tools like Otter.ai or Descript to transcribe them 一 it’ll save you countless hours. 

You can approach the interview with a specific set of questions, or follow your curiosity blindly, trying to uncover revealing stories and anecdotes about your subject. Whatever your method, author and biography editor Tom Bromley suggests that every interviewer arrives prepared, "Show that you’ve done your work. This will help to put the interviewee at ease, and get their best answers.” 

Bromley also places emphasis on the order in which you conduct interviews. “You may want to interview different members of the family or friends first, to get their perspective on something, and then go directly to the main interviewee. You'll be able to use that knowledge to ask sharper, more specific questions.” 

Finally, consider how much time you have with each interviewee. If you only have a 30-minute phone call with an important person, make it count by asking directly the most pressing questions you have. And, if you find a reliable source who is also particularly willing to help, conduct several interviews and ask them, if appropriate, to write a foreword as part of the book’s front matter .

Sometimes an important part of the process is packing your bags, getting on a plane, and personally visiting significant places in your character’s journey.

Visit significant places in their life

A place, whether that’s a city, a rural house, or a bodhi tree, can carry a particular energy that you can only truly experience by being there. In putting the pieces together about someone’s life, it may be useful to go visit where they grew up, or where other significant events of their lives happened. It will be easier to imagine what they experienced, and better tell their story. 

In researching The Lost City of Z , author David Grann embarked on a trek through the Amazon, retracing the steps of British explorer Percy Fawcett. This led Grann to develop new theories about the circumstances surrounding the explorer's disappearance.

Hopefully, you won’t have to deal with jaguars and anacondas to better understand your subject’s environment, but try to walk into their shoes as much as possible. 

Once you’ve researched your character enough, it’s time to put together all the puzzle pieces you collected so far. 

Take the bulk of notes, media, and other documents you’ve collected, and start to give them some order and structure. A simple way to do this is by creating a timeline. 

Create a chronological timeline

It helps to organize your notes chronologically 一 from childhood to the senior years, line up the most significant events of your subject’s life, including dates, places, names and other relevant bits. 

You should be able to divide their life into distinct periods, each with their unique events and significance. Based on that, you can start drafting an outline of the narrative you want to create.  

Draft a story outline 

Since a biography entails writing about a person’s entire life, it will have a beginning, a middle, and an end. You can pick where you want to end the story, depending on how consequential the last years of your subject were. But the nature of the work will give you a starting character arc to work with. 

To outline the story then, you could turn to the popular Three-Act Structure , which divides the narrative in three main parts. In a nutshell, you’ll want to make sure to have the following:

• Act 1. Setup : Introduce the protagonist's background and the turning points that set them on a path to achieve a goal. 
• Act 2. Confrontation : Describe the challenges they encounter, both internal and external, and how they rise to them. Then..
• Act 3. Resolution : Reach a climactic point in their story in which they succeed (or fail), showing how they (and the world around them) have changed as a result. 

Only one question remains before you begin writing: what will be the main focus of your biography?

Think about why you’re so drawn to your subject to dedicate years of your life to recounting their own. What aspect of their life do you want to highlight? Is it their evil nature, artistic genius, or visionary mindset? And what evidence have you got to back that up? Find a central thesis or focus to weave as the main thread throughout your narrative. 

Or find a unique angle

If you don’t have a particular theme to explore, finding a distinct angle on your subject’s story can also help you distinguish your work from other biographies or existing works on the same subject.

Plenty of biographies have been published about The Beatles 一 many of which have different focuses and approaches: 

• Philip Norman's Shout is sometimes regarded as leaning more towards a pro-Lennon and anti-McCartney stance, offering insights into the band's inner dynamics. 
• Ian McDonald's Revolution in the Head closely examines their music track by track, shifting the focus back to McCartney as a primary creative force. 
• Craig Brown's One Two Three Four aims to capture their story through anecdotes, fan letters, diary entries, and interviews. 
• Mark Lewisohn's monumental three-volume biography, Tune In , stands as a testament to over a decade of meticulous research, chronicling every intricate detail of the Beatles' journey.

Finally, consider that biographies are often more than recounting the life of a person. Similar to how Dickens’ Great Expectations is not solely about a boy named Pip (but an examination and critique of Britain’s fickle, unforgiving class system), a biography should strive to illuminate a broader truth — be it social, political, or human — beyond the immediate subject of the book. 

Once you’ve identified your main focus or angle, it’s time to write a great story. 

While biographies are often highly informative, they do not have to be dry and purely expository in nature . You can play with storytelling elements to make it an engaging read. 

You could do that by thoroughly detailing the setting of the story , depicting the people involved in the story as fully-fledged characters , or using rising action and building to a climax when describing a particularly significant milestone of the subject’s life. 

One common way to make a biography interesting to read is starting on a strong foot…

Hook the reader from the start

Just because you're honoring your character's whole life doesn't mean you have to begin when they said their first word. Starting from the middle or end of their life can be more captivating as it introduces conflicts and stakes that shaped their journey.

When he wrote about Christopher McCandless in Into the Wild , author Jon Krakauer didn’t open his subject’s childhood and abusive family environment. Instead, the book begins with McCandless hitchhiking his way into the wilderness, and subsequently being discovered dead in an abandoned bus. By starting in medias res , Krakauer hooks the reader’s interest, before tracing back the causes and motivations that led McCandless to die alone in that bus in the first place.

You can bend the timeline to improve the reader’s reading experience throughout the rest of the story too…

Play with flashback 

While biographies tend to follow a chronological narrative, you can use flashbacks to tell brief stories or anecdotes when appropriate. For example, if you were telling the story of footballer Lionel Messi, before the climax of winning the World Cup with Argentina, you could recall when he was just 13 years old, giving an interview to a local newspaper, expressing his lifelong dream of playing for the national team. 

Used sparsely and intentionally, flashbacks can add more context to the story and keep the narrative interesting. Just like including dialogue does…

Reimagine conversations

Recreating conversations that your subject had with people around them is another effective way to color the story. Dialogue helps the reader imagine the story like a movie, providing a deeper sensory experience. 

One thing is trying to articulate the root of Steve Jobs’ obsession with product design, another would be to quote his father , teaching him how to build a fence when he was young: “You've got to make the back of the fence just as good looking as the front of the fence. Even though nobody will see it, you will know. And that will show that you're dedicated to making something perfect.”

Unlike memoirs and autobiographies, in which the author tells the story from their personal viewpoint and enjoys greater freedom to recall conversations, biographies require a commitment to facts. So, when recreating dialogue, try to quote directly from reliable sources like personal diaries, emails, and text messages. You could also use your interview scripts as an alternative to dialogue. As Tom Bromley suggests, “If you talk with a good amount of people, you can try to tell the story from their perspective, interweaving different segments and quoting the interviewees directly.”

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These are just some of the story elements you can use to make your biography more compelling. Once you’ve finished your manuscript, it’s a good idea to ask for feedback. 

If you’re going to self-publish your biography, you’ll have to polish it to professional standards. After leaving your work to rest for a while, look at it with fresh eyes and self-edit your manuscript eliminating passive voice, filler words, and redundant adverbs. 

Then, have a professional editor give you a general assessment. They’ll look at the structure and shape of your manuscript and tell you which parts need to be expanded on or cut. As someone who edited and commissioned several biographies, Tom Bromley points out that a professional “will look at the sources used and assess whether they back up the points made, or if more are needed. They would also look for context, and whether or not more background information is needed for the reader to understand the story fully. And they might check your facts, too.”  

In addition to structural editing, you may want to have someone copy-edit and proofread your work.

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Importantly, make sure to include a bibliography with a list of all the interviews, documents, and sources used in the writing process. You’ll have to compile it according to a manual of style, but you can easily create one by using tools like EasyBib . Once the text is nicely polished and typeset in your writing software , you can prepare for the publication process.  

In conclusion, by mixing storytelling elements with diligent research, you’ll be able to breathe life into a powerful biography that immerses readers in another individual’s life experience. Whether that’ll spark inspiration or controversy, remember you could have an important role in shaping their legacy 一 and that’s something not to take lightly. 

Continue reading

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What is a Biography? Definition, Elements, and More

POSTED ON Oct 12, 2023

Written by Nicole Ahlering

Have you found yourself browsing the biography section of your favorite library or bookstore and wondered what is a biography book ? 

Don’t worry, we’ve got you covered! 

In this brief guide, we’ll explore the definition of a biography, along with its purpose, how you might write one yourself, and more. Let’s get started.

Need A Nonfiction Book Outline?

In this article, we'll explore:

What is a biography of a person .

A biography is simply a written account of someone’s life. It is written by someone other than whom the book is about. For example, an author named Walter Isaacson has written biographies on Steve Jobs , Leonardo da Vinci , and Einstein . 

Biographies usually focus on the significant events that occurred in a person’s life, along with their achievements, challenges they’ve overcome, background, relationships, and more. 

They’re an excellent way to get a comprehensive understanding of someone you admire. 

What is the point of a biography? 

Biographies have a few purposes. They can serve as historical records about a notable figure, inspire and educate readers, and give us more insight into how the folks we’re interested in lived their lives. 

They can also be valuable research resources for people studying a notable figure, like Einstein! 

Does a biography cover someone’s entire life? 

Biographies typically encompass most of a person’s life. Obviously, if the subject of the book is still alive, their entire life cannot be written about. 

If the person lived a long and eventful life with many achievements, the author may cover only an especially noteworthy period of the subject’s life. 

Even so, the point of a biography is to learn about your subject beyond just what they achieved, so there will likely still be contextual information about the subject’s childhood, formative experiences, and more. 

Is a biography always nonfiction? 

Surprisingly, a biography is not always nonfiction . There is a genre called biographical fiction in which the author uses real-life people and events to inspire their fictional narrative . 

This genre is fun because the author can postulate about what their subject may have been thinking, feeling, and more in a way they may not be able to with a nonfiction biography. 

Just keep in mind that biographical fiction blends facts with made-up information, so it can’t be used as a primary research source. That said, it’s a fun supplement to learning about a figure you’re interested in, and can help generate curiosity and insights about their lives. 

If you’d like to read a biographical fiction book, check out books like: 

• The Paris Wife by Paula McLain
•   The Other Boleyn Girl by Philippa Gregory
• The Aviator’s Wife by Melanie Benjamin 

Why would someone write a biography? 

An author may want to write a biography about someone because they’re inspired by them and want to educate the public about them. Or, they want to create a historical resource for scholars to study. 

An author may even have a commercial motivation for writing a biography, like a lucrative celebrity profile or a biography that has the potential to be adapted into a film or television series. 

Is it possible to write a biography about yourself? 

If you write a book about yourself, it’s called an autobiography or a memoir—not a biography. So, when you start writing your book, make sure you don't get caught in the autobiography vs biography or biography vs memoir maze.

If you’d like a book written about you that you’re not the author of, you can hire a writer to create one for you. You may choose to do this if you feel your writing skills are not up to par or you don’t have time to write your own biography .

Hiring a writer to write your biography can also make sense if you’d like to make sure the book is as objective and professional as it can be. Of course, this means you have to surrender control of the narrative! 

Some folks may also feel that a biography has more credence than an autobiography or memoir since the book’s subject doesn’t get to decide what is said about them. So hiring a writer for your biography can be a good way to credibly get your story out there. 

Can you write a biography about anyone you’d like? 

When it comes to writing about other people’s lives, it’s wise to proceed with an abundance of caution. After all, you don’t want to be sued for defamation or find yourself in other legal hot water. 

We highly suggest you look into the legal ramifications of writing about your chosen subject before you begin writing about them, but here are a couple of general things to know: 

• Typically, you don’t need permission to write about someone who is a public figure. However, the definition of a public figure can vary depending on your jurisdiction and more, so you’ll need to do your research.
• Even if you discover that you can write about your subject without permission, it’s still advisable to contact the subject and or their family. Not only is it good manners, but it may afford you some insider information about your subject. 
• If your subject or the family of your subject tells you they don’t want a biography about them, you may still legally be able to proceed—consult a lawyer—but you might face backlash when the book is published, limited access to information about your subject, and perhaps a pressing sense of guilt. Not worth it, if you ask us! 

Examples of biographies

Ready to get started reading biographies? Here are a few of the best biographies you should add to your list: 

• Frida: A Biography of Frida Kahlo by Hayden Herrera 
• Heavier Than Heaven: A Biography of Kurt Cobain by Charles R. Cross
• Anne Frank: The Biography by Melissa Müller
• You Never Forget Your First: A Biography of George Washington by Alexis Coe
• The Beatles: The Biography by Bob Spitz
• Victoria the Queen: An Intimate Biography of the Woman Who Ruled an Empire by Julia Baird

Final thoughts 

Reading a biography is a great way to get inspired, learn from other people’s experiences, and more. And writing a biography can be an excellent educational experience in its own right! If you’d like to publish a biography but don’t know where to start, we’re here to help. Simply schedule a book consultation to get started. 

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Human lives are intricate tapestries woven with experiences, emotions, challenges, and triumphs. Biographies and autobiographies serve as windows into these remarkable stories, offering insight into the lives of individuals who have left their mark on history or those who wish to chronicle their own journeys. 

I n this guide, we will explore the art of writing biographies and autobiographies, delving into the nuances of both genres and providing valuable tips on how to craft compelling narratives.

Understanding Biography and Autobiography

• Biography: Exploring Lives Beyond the Surface A biography is a literary exploration that unveils the intricate layers of a person’s existence, transcending the mere listing of events. It provides a comprehensive account of an individual’s life, offering insights into their achievements, struggles, societal impact, and distinct qualities that define them. These narratives serve as windows into history, allowing readers to traverse time and understand the legacy left by remarkable individuals. Biographies are usually crafted by biographers, individuals skilled in research and storytelling. They undertake a meticulous journey of gathering information from diverse sources, such as historical records, interviews, letters, and secondary literature. The biographer’s role is to curate these fragments of information into a coherent narrative, painting a vivid portrait of the subject. This comprehensive approach lends credibility and depth to the portrayal, enriching the reader’s understanding of the subject’s contributions and character. Example:  Consider the biography of Mahatma Gandhi. A biographer compiling his life story would explore not only his role in India’s fight for independence but also his principles of nonviolence, his experiments with truth, and his impact on the world’s political landscape. By presenting a holistic view of Gandhi’s life, the biography reveals the nuances of his personality, beliefs, and the larger context in which he operated.
• Autobiography: The Intimate Dialogue of Self-Discovery An autobiography is a narrative journey undertaken by the subject themselves—a profound sharing of one’s life experiences, emotions, and reflections. This genre provides readers with an intimate insight into the subject’s psyche, allowing them to witness their life’s trajectory through personal recollections. Autobiographies carry a unique authenticity, as they are composed from the vantage point of the person who lived those moments, providing a firsthand account of their journey. Autobiographies draw from the subject’s reservoir of memories, emotions, and introspections. This self-exploration leads to a narrative that is often more than a linear chronicle; it becomes a tapestry woven with the threads of emotions, thoughts, and personal revelations. By directly communicating with the reader, the autobiographer creates a powerful connection, allowing readers to step into their shoes and experience their story from within. Example:  A notable example of an autobiography is “The Diary of a Young Girl” by Anne Frank. Written during her time in hiding during World War II, the book offers a candid portrayal of Anne’s life, fears, hopes, and dreams. Through her own words, readers gain a deep understanding of the challenges faced by Jews during the Holocaust, as well as the resilience and humanity that Anne exudes even in the face of adversity.

Writing a Biography:

Research: The Foundation of a Compelling Biography Thorough research is the cornerstone of a captivating biography. Delve into reputable sources like books, articles, interviews, and archives to gather a comprehensive view of your subject’s life. By immersing yourself in these materials, you gain insights into their experiences, motivations, and contributions. Scrutinise the historical context to understand the era’s impact on their journey. Successful research forms the bedrock of your biography, enabling you to present an accurate and nuanced portrayal that resonates with readers. It’s through meticulous research that you uncover the hidden stories and connect the dots, allowing the subject’s essence to shine through the pages.

Selecting a Focus: Defining the Narrative Scope Choosing a focal point is essential for a well-structured biography. Decide whether to cover the subject’s entire life or concentrate on specific periods or achievements. This decision shapes the narrative’s trajectory, preventing it from becoming overwhelming or disjointed. A focused approach allows you to delve deeply into pivotal moments, providing a more profound understanding of the subject’s journey. By clarifying the scope, you enable readers to follow a coherent storyline, making it easier for them to engage with the subject’s life in a meaningful way.

Structuring the Biography: Chronology and Themes The organisation of your biography greatly impacts its readability. Structure your work into logical sections or chapters, employing either a chronological or thematic arrangement. Begin with an engaging introduction that captures readers’ attention and provides essential context. A chronological structure follows the subject’s life in sequential order, offering a clear timeline of events. Alternatively, a thematic structure groups events by themes, allowing you to explore different facets of the subject’s life. A well-structured biography guides readers smoothly through the subject’s experiences, fostering a deeper connection and understanding.

Show, Don’t Tell: Evocative Storytelling Vivid descriptions, anecdotes, and quotes breathe life into your biography. Rather than merely listing facts, employ descriptive language to recreate scenes and emotions, allowing readers to immerse themselves in the subject’s world. Use anecdotes to illustrate key moments, capturing the essence of the subject’s character and the impact of events on their journey. Integrating quotes from the subject, contemporaries, or relevant sources adds authenticity and depth. Through this technique, you transport readers into the subject’s experiences, enabling them to witness the moments that shaped their lives.

Balanced Perspective: Portraying Strengths and Flaws A balanced portrayal adds credibility and depth to your biography. While it’s tempting to focus solely on accomplishments, a well-rounded view includes the subject’s strengths and flaws. This authenticity humanises the subject, making it relatable and multidimensional. By acknowledging both successes and challenges, readers gain a more honest understanding of their journey. Balancing positives and negatives helps readers empathise with the subject, connecting them on a deeper level and offering a more genuine insight into their lives.

Engaging Emotions: Creating Emotional Resonance Emotions are a potent tool in biography writing. Delve into the subject’s feelings, struggles, and aspirations to create an emotional connection with readers. By tapping into their emotional experiences, you make the narrative relatable and engaging. Sharing personal challenges and triumphs allows readers to empathise and reflect on their own lives. This emotional resonance elevates the biography from a mere factual account to a compelling and moving story that lingers in readers’ minds, leaving a lasting impact.

Citing Sources: Ensuring Accuracy and Credibility Accurate information is vital in biography writing. Properly cite your sources to maintain credibility and integrity. Clear citations not only lend authority to your work but also provide readers with the opportunity to explore further if they desire. Accurate referencing safeguards against misinformation and ensures that your portrayal is based on reliable evidence. In addition to enhancing your credibility, thorough citations demonstrate your commitment to thorough research and ethical writing practises, contributing to the overall trustworthiness of your biography.

Complete Guide to Write a Biography. Start Writing Your Biography Now

Writing an Autobiography:

Reflecting on Significant Moments and Experiences Initiating an autobiography involves introspection into your life’s pivotal moments. Delve into memories that have influenced your journey, such as turning points, challenges, relationships, and achievements. Reflect on these experiences, dissecting their impact on your personal growth and development. By contemplating these key events, you gain insight into the narrative threads that weave your life story together. This reflective process sets the foundation for an authentic autobiography that resonates with readers on a profound level.

Developing Your Unique Voice and Tone Crafting an autobiography demands a consistent voice and tone that reflect your personality. Write in a way that feels true to you, capturing your unique perspective and emotions. Authenticity is key, as it allows readers to connect with your narrative on a personal level. Whether your tone is introspective, humorous, or contemplative, ensure it aligns with the essence of your experiences. By embracing your genuine voice, you create an autobiography that not only tells your story but also conveys the essence of who you are.

Structured Storytelling for Engagement While autobiographies can be more flexible in structure compared to biographies, organising your narrative into coherent sections or themes enhances its readability. By grouping related experiences together, you provide readers with a clearer understanding of the themes that have shaped your life. This structure helps maintain their engagement by guiding them through your journey in a logical and compelling manner. While allowing for creativity, a structured approach ensures that your autobiography remains focused and accessible.

Embracing honesty and authenticity Honesty is the bedrock of an impactful autobiography. Share not only your triumphs but also your mistakes and failures. Authenticity creates relatability, allowing readers to connect with your humanity and vulnerabilities. Your journey’s challenges and setbacks are just as integral to your story as your successes. By being candid about your experiences, you demonstrate resilience and growth, inspiring readers to reflect on their own paths. This level of authenticity fosters a deeper connection, making your autobiography a source of empathy and encouragement.

Adding Depth Through Reflection Incorporate reflection to imbue your autobiography with depth and meaning. Explore the lessons you’ve learned from your experiences and the transformations they’ve prompted. Delve into how these moments shaped your beliefs, values, and perspective on life. By offering insights gained from introspection, you provide readers with wisdom and a broader understanding of your journey. Reflection transforms your autobiography from a chronicle of events into a thoughtful exploration of personal growth and the profound impact of life’s moments.

Creating vivid details for immersion Immerse readers in your world by employing sensory details and vivid descriptions. Paint a picture with words, allowing readers to visualise the scenes and emotions you’re describing. By incorporating sensory elements like sights, sounds, smells, and feelings, you transport readers into the moments you’re recounting. This immersive experience draws them closer to your story, fostering a stronger connection. Vivid details not only make your autobiography more engaging but also enable readers to forge a deeper connection with your experiences and emotions.

In the realm of literature, biographies and autobiographies stand as powerful testaments to the diversity and richness of human existence. Whether you’re capturing the life of a historical figure or penning your own life story, the art of writing these genres involves meticulous research, introspection, and a keen understanding of human emotions. 

Through carefully chosen words and evocative storytelling, biographers and autobiographers alike can craft narratives that resonate with readers and offer a deeper understanding of the human experience. So, whether you’re writing about the extraordinary or the everyday, embrace the challenge and privilege of narrating lives through the written word.

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Wonder of the Day #44

What Is a Biography?

LANGUAGE ARTS — Literature

Have You Ever Wondered...

• Who wrote the first biography? 
• How do you write a biography? 
• What is a memoir?
• biography ,
• Biography ,
• Autobiography ,
• James Boswell ,
• Samuel Johnson ,
• Slave Narrative ,

Today’s Wonder of the Day was inspired by Chgvlokdkl. Chgvlokdkl Wonders , “ Who was the first biography on? ” Thanks for WONDERing with us, Chgvlokdkl!

If you’re reading this, chances are that you enjoy learning about people, places, and new ideas. That’s what Wonderopolis is all about! Every Wonder you read is a nonfiction article. Nonfiction means that it is based in fact —it is true. Many Wonders are about famous or important people. These are biographies! And today we’re WONDERing—what is a biography?

Simply put, a biography is the true story of a person’s life. Of course, writing a biography might not be so simple! How does someone write a biography? Some authors write a biography of someone that they knew. One of the most famous biographies in ancient times was the descriptions of Socrates by his student, Plato. Plato wrote about what he saw and experienced with Socrates.

Most biographers have to research their subjects. Writers can learn about them by reading their diaries or other papers they wrote. They can also read what other biographers have written about them. If their subject is alive, a writer might interview them to learn more about their perspective. Sometimes, a writer may know his subject , but they also research them in order to give a fuller account of their lives. One of the first modern biographers was James Boswell. He knew his subject , Samuel Johnson, very well. He also learned more about Johnson by reading his papers and journals. Boswell’s Life of Samuel Johnson became one of the most famous biographies in history!

Another kind of biography is the autobiography. “Auto” means self, so an autobiography is a biography written by oneself! One kind of autobiography is a memoir. Memoirs are usually about one part of a person’s life—not their entire life, like an autobiography. Both biographies and autobiographies are often written about well known or important people. Many may already know of them and are interested in learning more about them. That isn’t always true, though.

There are a few different reasons why people would write a biography or autobiography. The first is to teach others about someone who is already well known. Ron Chernow’s biography of Alexander Hamilton , that inspired the musical Hamilton , is one example. Another is to inform about other places, times, or events. Biographies of famous generals, for example, help teach us about the conflicts they were a part of. Travel memoirs show us what it is like to live in other places.

Many memoirs focus on someone’s unique life. Helen Keller ’s book tells of her life as a person who was both blind and deaf. Maya Angelou wrote about her life growing up as a Black girl in Arkansas.

Autobiographies can also be used to draw attention to important issues. They can help people empathize with the author. One genre of autobiography called slave narratives were written for this purpose. Authors like Frederick Douglass and Harriet Jacobs told about their lives as enslaved people. They hoped that by telling their stories, they might inspire others to work against slavery .

Autobiographies and memoirs about the Holocaust also seek to inform and teach others. Two of the best known Holocaust memoirs are Anne Frank ’s Diary of a Young Girl and Elie Wiesel ’s Night . These books help readers feel connected to the authors and understand how they felt.

Writing a biography requires a lot of research . Writing an autobiography or memoir means you will need to know all about yourself! Who would YOU like to write about? Who would YOU like to read about?

Common Core , Next Generation Science Standards , and National Council for the Social Studies ."> Standards : CCRA.R.1, CCRA.R.2, CCRA.R.3, CCRA.R.7, CCRA.R.8, CCRA.R.9, CCRA.R.10, CCRA.L.1, CCRA.L.2, CCRA.L.3, CCRA.L.4, CCRA.L.5, CCRA.L.6, CCRA.W.2, CCRA.W.3, CCRA.W.4, CCRA.W.7, CCRA.W.9

Wonder What's Next?

Tomorrow’s palm-sized Wonder of the Day has a long tail and is sometimes gray. However, we’re not sure if it likes cheese.

Whether you’d like to read or write, try it out here! 

• There are so many Wonder biographies—which is your favorite? With an adult’s help, search our website and see what biographies you can find. You might try Sandra Cisneros , James Baldwin , or Henry David Thoreau —who all wrote memoirs of their own! Share what you learn with a friend or family member. If you can’t find the biography you’d like, suggest it in the Wonder Bank ! 
• Ready to try it for yourself? Write a small biography! You can either write about someone you already know, or not. With an adult’s help, use your research skills on the Internet or at the library to learn more about your subject. If your subject is a friend or family member, interview them to learn more. Then, organize and write what you have learned. Share your biography with a friend or family member! 
• Are your experiences unique enough to write about? We think so! Try your hand at writing a memoir. You can write a poem, short story, or even try a six-word memoir . Share what you create with a friend or family member!

Wonder Sources

• https://www.britannica.com/dictionary (accessed 19 July, 2023)
• https://www.britannica.com/art/biography-narrative-genre (accessed 22 May, 2023)
• https://www.authorlearningcenter.com/writing/i-have-an-idea/w/choosing-your-topic/6397/the-differences-between-memoir-autobiography-and-biography---article (accessed 24 May, 2023)
• https://celadonbooks.com/what-is-a-biography/ (accessed 24 May, 2023)

Did you get it?

Wonder contributors.

We’d like to thank:

Ivy for contributing questions about today’s Wonder topic!

Keep WONDERing with us!

Wonder Words

biography is about a person and that person wrote it

Thanks for sharing your thoughts about biographies, Taylor! They are fun to write and read! :)

That sounds very interesting, Morgan! We enjoy reading biographies, too! :)

Wonderopolis

Hi, kay! We're sorry to hear that. Reading and writing biographies are both WONDERful ways to learn about historic people. We encourage you to think of your historical hero ( Wonder #1119:Who’s Your Historical Hero? ) and research him/her at the library. You might change your mind! :)

Hi Derek! We're excited that you're the first to comment too! We are so glad you're WONDERing with us! Who's your favorite biography about? Thanks for WONDERing! :)

We are undergoing some spring clearing site maintenance and need to temporarily disable the commenting feature. Thanks for your patience.

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Question 1 of 3

This Wonder is mostly about . . .

• a How to write a memoir Not Quite!
• b The importance of slave narratives in the abolitionist movement Not Quite!
• c James Boswell Not Quite!
• d Different kinds of biographies Correct!

Question 2 of 3

How do we know that autobiographies can be used to draw attention to important issues?

• a One genre of autobiography, called slave narratives, were written for the purpose of inspiring others to work against slavery. Correct!
• b Writing a biography requires a lot of research. Not Quite!
• c One of the most famous biographies in ancient times was the descriptions of Socrates by his student, Plato. Not Quite!
• d Many memoirs focus on someone’s unique life. Not Quite!

Question 3 of 3

How is an autobiography different from a memoir?

• a Memoirs are shorter than autobiographies. Not Quite!
• b Memoirs are usually about one part of a person’s life—not their entire life, like an autobiography. Correct!
• c Autobiographies are about someone else, whereas a memoir is about oneself. Not Quite!
• d Memoirs are about famous or important people; autobiographies are about ordinary people. Not Quite!

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Definition of biography

Did you know.

So You've Been Asked to Submit a Biography

In a library, the word biography refers both to a kind of book and to a section where books of that kind are found. Each biography tells the story of a real person's life. A biography may be about someone who lived long ago, recently, or even someone who is still living, though in the last case it must necessarily be incomplete. The term autobiography refers to a biography written by the person it's about. Autobiographies are of course also necessarily incomplete.

Sometimes biographies are significantly shorter than a book—something anyone who's been asked to submit a biography for, say, a conference or a community newsletter will be glad to know. Often the word in these contexts is shortened to bio , a term that can be both a synonym of biography and a term for what is actually a biographical sketch: a brief description of a person's life. These kinds of biographies—bios—vary, but many times they are only a few sentences long. Looking at bios that have been used in the same context can be a useful guide in determining what to put in your own.

Examples of biography in a Sentence

These examples are programmatically compiled from various online sources to illustrate current usage of the word 'biography.' Any opinions expressed in the examples do not represent those of Merriam-Webster or its editors. Send us feedback about these examples.

Word History

Late Greek biographia , from Greek bi- + -graphia -graphy

1665, in the meaning defined at sense 2

Dictionary Entries Near biography

biographize

Cite this Entry

“Biography.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/biography. Accessed 16 Apr. 2024.

Kids Definition

Kids definition of biography, more from merriam-webster on biography.

Nglish: Translation of biography for Spanish Speakers

Britannica English: Translation of biography for Arabic Speakers

Britannica.com: Encyclopedia article about biography

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What Makes a Good Biography?

Julia Rittenberg

Julia is a professional nerd who can be spotted in the wild lounging with books in the park in Brooklyn, NY. She has a BA in International Studies from the University of Chicago and an MA in Media Studies from Pratt Institute. She loves fandom, theater, cheese, and Edith Piaf. Find her at juliarittenberg.com .

View All posts by Julia Rittenberg

The story of a life is vast and can take many shapes. A book that describes the path of someone’s life can focus on many different aspects. There are many biographies that take global approaches to someone’s life, taking in all of the historical realities of the time the person was living in and assessing how it affected them, too. There are also biographies that focus on a slice of a historical figure’s life. These smaller stories can be representative of the larger trajectory of someone’s life. The answer to what makes a good biography is frustratingly nebulous.

Biographies about the lives of important historical figures, celebrities, or artistic luminaries are a massive undertaking. The writer must address the issue of how to make this person accessible to readers without reducing their work to a simple story. The best biographies strike this balance perfectly.

Whose Stories Are Worth Telling?

Biographies shape the way we view history and who counts as important. It is necessary to assess what kinds of books are published and what they choose to focus on.

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In a 2016 piece, two writers at Slate studied the popular history books released in 2015 to see what trends they could find among them. The results were fairly damning, if not expected from the publishing industry: “Biographies represented 21% of the total number of books published. Their subjects were 71.7% male, with the list dominated by big names like Richard Nixon, Winston Churchill, and Napoleon Bonaparte. While some of the biographies of men were written by women (13%), female authors were far more likely than male writers to write biographies about women. Sixty-nine percent of female biography authors wrote about female subjects, and there was a huge gap between this number and the 6% of male biography authors who wrote about women.” They assessed 614 titles from 80 publishing houses, so it was clearly a widespread problem.

Many of these biographies also chose to focus on generals and presidents and founding fathers in United States history. Though I have not read all of these books, I do question what new approaches there are to take to the life of Abraham Lincoln, about whom over 15,000 books have been written. Frederick Douglass and Sojourner Truth have not received the same storm of attention. This is also definitely related to the unbearable whiteness of academia. The people who run our cultural institutions have a trickle-down effect into how we narrate history.

Writers of diverse backgrounds have made incremental gains since the 2016 Slate piece. In addition, the Black Lives Matter protests of 2020 marked a change in the public commitments that publishing companies were making to diversity and inclusion (at least nominally).

However, we are also living through a sea of book banning and curriculum rewriting to assert American exceptionalism. This represents a dangerous slide into authoritarianism and white supremacy. Continuing to emphasize and fight for books about historical figures who fought for progressive values and justice is deeply necessary.  

How to Write a Good Biography

There is plenty of good advice online about writing biographies . Whether you’re writing about someone dead or alive, defining the scope is the most important place to start.

The Power Broker by Robert Caro is often cited as one of the best biographies because it so exhaustively chronicles the life of someone who shaped the way New York City functions. His work in local government gave him lessons about gaining power in the corrupt system. He was able to achieve his vision of turning NYC into a car paradise and de-emphasized the importance of public transit. This biography helps New Yorkers realize who is to blame for their annoying commutes every day!

Another biography that seamlessly integrate the historical realities with the lives of working people who changed the world is Hidden Figures by Margot Lee Shetterly. Shetterly follows the careers of Dorothy Vaughan, Mary Jackson, Katherine Johnson, and Christine Darden from their entrance into the service during World War II to their groundbreaking work at NASA that led to the moon landing.

Another book that pops up on many of the best biographies lists is The Immortal Life of Henrietta Lacks by Rebecca Skloot. Henrietta Lacks was a tobacco farmer descended from enslaved people whose cells have shaped modern medicine. The trouble is that she and her family were all entirely unaware of her harvested cells, collected without her knowledge while undergoing treatment for cancer, and their impact on medical science.

On the other hand, biographies pitched for children tend to take a smaller, more contained approach to their subjects. Even if they are meant to summarize someone’s entire life, children’s book writers make sure to get to the most historically relevant parts quickly. It’s important for children to read history books with a diverse set of historical figures so kids of all backgrounds can see people like them succeeding, as well as learning about people different from their own backgrounds.

Summarizing A Life

When starting out on a biography, your perspective as a writer is just as important as the historical figure. Ask yourself: what draws you to this person, and why do you want to summarize their life, or at least a part of it? Writers and readers alike are attracted to untold stories, but there are also different angles on well-known figures.

For framing the story, it’s important to decide on the approach outside of just narration. Is it a cultural story, a social history, or something completely different? It’s not that every person can be slotted easily into a larger story, but there are sociohistorical touchstones that can inform the biography, too.

The best way to get started on writing biographies is reading a ton of them to inform your craft. If you’re looking for biographies of literary figures , musicians , or even comic book artists , there’s a great backlist for any kind of person.  

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The contents page of a biography or memoir will give you an idea of the structure the author has used. Chapters in biographies are usually around 6-8,000 words in length but there are no hard and fast rules. The occasional short chapter can bring variety to the pace of the book. Some authors punctuate their chapters with short asides in which they pause from the main narrative to expand a particular theme without interrupting the narrative flow. Kathryn Hughes's The Short Life & Long Times of Mrs Beeton is laced with "interludes" in which she explores topics such as Mrs Beeton's awareness of the link between health and diet, and whether Mrs Beeton ruined British cooking. Each adds to the reader's knowledge of the period without causing the narrative drive to stall. Alternatively, you might prefer to weave themes into the central story.

Cradle to Grave

A biography typically starts with the subject's birth (it's surprising how many begin with a description of the weather) and continues in a roughly chronological order until their death. The advantage of this approach, which could equally apply to the history of a family, is that it is easy to follow. The downside is that it can appear plodding - especially if you're writing about someone who had an action-packed early life but whose later days were tame. One solution is to condense your treatment of the less exciting years but this can be difficult to achieve without making the book seem unbalanced. Alexander Masters turned the traditional form on its head in Stuart, A Life Backwards by telling the story in reverse chronological order.

A year in the life of ...

Another approach is to focus on a distinct period, as James Shapiro does in 1599, A Year in the Life of William Shakespeare. This was the year in which the playwright completed Henry V, wrote Julius Caesar and As You Like It and drafted Hamlet, but also a year of great excitement in England - an aging Queen faced the threat of invasion by Catholic Spain, rebellion in Ireland and intrigue at court. Shapiro's book marries both threads together to create an intimate picture of what life must have been like for Shakespeare and the influences that fed into his writing. Shapiro starts with the winter of 1598 and refers to events before and after 1599 to illuminate a single year.

This could work equally well for family history. The year 1948, for example, is significant for many families as it marked the arrival of West Indian immigrants on the ship Empire Windrush. Andrea Levy, herself the daughter of Jamaican immigrants, focussed on this one momentous year in her novel, Small Island.

Richard Benson, a journalist with The Face, based his book, The Farm, on notebooks he kept during the few weeks when he helped his parents to prepare the family farm in Yorkshire for sale after they reluctantly decided they could no longer afford to live there. Although the book focuses on a distinct period in time, he widens its scope to reflect back on his childhood, and the importance of the farm in his life.

Group biographies and biographical pairings

Writing about two or more people whose lives have a natural symbiosis can give the reader more for less. The subjects might share a similar background and context and the interaction between them will give the reader a deeper understanding of each.

This is especially true of family members and in particular siblings. James Fox's The Langhorne Sisters is both a group biography and a family history in which he uses letters and diaries to examine the lives of his great-aunts and grandmother who were born in Virginia, USA, but who made their mark on high society on both sides of the Atlantic

One of the advantages of group biographies is that there is usually at least one figure who is more flamboyant than the others. He or she can sweep the story along, carrying other characters, who may be less compelling, with them. Nancy Astor, who became the first woman to take her seat in parliament, fills this role in The Langhorne Sisters.

In some instances the rivalry and tension between the biographical subjects add a sense of drama to a joint biography whether the figures are Sylvia Plath and Ted Hughes or the cousins Elizabeth I and Mary Queen of Scots. Roland Huntford's joint biography of the polar explorers, Robert Scott and Roald Amundsen, The Last Place on Earth opens with a short description (less than a page) of the two men embarking on their expeditions before doubling back to outline earlier attempts to reach the South Pole and then jumping forward to look at Scott and Amundsen's biographical roots. His approach allows him to tell both their life stories at the same time as he recounts the race to the pole.

Another way of pulling together the lives of a group of people is to use a single event as a unifying theme. In A Night at the Majestic, Richard Davenport-Hines describes a famous dinner party at the Majestic Hotel in Paris in 1922 that was attended by Stravinsky, Joyce, Diaghilev, Picasso and Proust.

The structure of Nigel Slater's memoir, Toast, appears to be little more than a bundle of headings, mostly connected to food and each evoking a 1960s childhood: "Spaghetti Bolognese", "Arctic Roll", "Butterscotch Flavour Angel Delight" (which starts with a list of ingredients: "Sugar, Modified Starch, Hydrogenated Vegetable Oil, Emulsifiers ...)" Each is no more than a few pages long. But, despite its apparent simplicity, the characters develop and the story unravels in a way that is far from haphazard.

Since Slater is a professional cook, recipes provide natural prompts but this is a format that could translate to other subjects. If your parents met through their shared passion for amateur dramatics you could use theatre programmes to tell their story. Or if you have a box full of old photos you could write commentaries to some of the pictures. As you progress you will find that themes start to emerge: the annual camping trip when your mother stayed at home, the different houses you lived in, or family celebrations.

Chapter breakdown

Once you've decided on a structure you will need a chapter breakdown outlining what you will cover in each chapter. This is a valuable way of helping you to organise your material and to assess the overall pace of your book. Are there sections that appear a little "flat" and where you might want to freshen up your writing with extra research so that you can inject some colour into the writing? Or perhaps you need to move material around. Does one chapter contain too many facts or maybe you've revealed too much of the story too soon? Expect your chapter breakdown to change and evolve as your book takes shape. A publisher or literary agent will want to see it, together with at least one sample chapter, as part of your book proposal.

A preface allows you to introduce your book and to tell the reader its scope and why you've decided to write it. This can be useful if you want to explain to younger generations why you've chosen to write a family history. A prologue gives you the chance to write an introductory scene - perhaps from a dramatic moment in the life you're about to write. The aim is to "hook" the reader but the danger in including a preface or prologue - or both - is that the reader doesn't quite know when the book proper has started.

Alexander Masters on structure

I'm rotten at planning books. Certainly I was with my first book, and I don't seem to have improved with the one I'm working on now. I write in blobs a possible chapter here, a couple of paragraphs there - and pray that sooner or later it'll all fit together.

With Stuart, I messed up royally on the first attempt. I used the old-fashioned, orderly biographical structure: begin before the beginning, dole out 20 pages of ancestors until the hero appears, meander on through school etc. Somewhere about page 50 the subject finally does something interesting. Stuart said the result was "bollocks boring", and he was right. It bored me to tears. That type of structure reflected nothing of his character. Stuart was the opposite of orderly: a chaotic, outrageous, alcoholic sociopath who spent much of his adult life on the streets or in jail.

Stuart discovered the solution. Tear up the first version and write the book the other way round, ie backwards, "like a murder mystery": start from the point when we first met, then work back to his childhood to find out "what murdered the boy I was". Not only did this structure offer a strong drive to the story, the telling of it became unpredictable and erratic again, and exciting to write. All that plodding preparation vanished. At last, the structure reflected the man.

· Alexander Masters' Stuart: A Life Backwards won the Whitbread Award for biography in 2005

Exercise: foreground versus background

Decide who the principal characters will be and the background against which their story will be told. If you're writing the biography of a famous fashion designer the background might include rival designers, models, their partners and family. Their story might switch between the east end of London (where they grew up), to Carnaby Street (where they learnt their trade), to Paris (where they worked) to New York (where they lived when they were famous).

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What is a Biography?

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A biography is a record of a person’s life. Written in third person, biographies generally span a subject’s lifetime, from birth to death, and include major events in his or her public and private life. Biographies may delve into a person’s psychology and explore their emotional, intellectual, and spiritual lives.

The biography is one of the oldest forms of literature. Since ancient times, writers have recorded the lives of great leaders and warriors. Some early biographies were viewed as a form of historical record, others took on fantastical elements and grew into cultural epics. Notable ancient biographies include Plato’s Apology , which records a portion of the life of Socrates, and the Gospels of the Christian bible, which present four biographies of Jesus Christ. As the centuries progressed, the biography as a style of literary importance waxed and waned. In 1791, James Boswell reshaped the image of the biography with his Life of Samuel Johnson , a two-volume tome that recounted his own interactions with Johnson in exhaustive detail. As the influence of Romanticism and later psychoanalysis intersected with the world of literature, biographies continued to become more detailed in their explorations of the subject’s emotional and psychological experiences.

Although biographies and autobiographies are categorized as nonfiction, they are not necessarily devoid of bias. Biographers may portray their subjects in various lights depending on their relationship to and opinion regarding the subject. Shakespeare’s historical plays, for example, purport to be historical accounts of British kings (Richards, and Henrys), but the portrayal of each king is clearly influenced by Shakespeare’s own opinion, literary artistry, and awareness of his audience.

Today biographies make up a stable portion of yearly publications. Some take the form of plays, such as The Miracle Worker depicting the life of Helen Keller; others have been successfully adapted into films, like the 2014 film adaptation of Louis Zamperini’s biography Unbroken . Whether they are read or watched, biographies continue to fascinate and inform their modern audience.

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Literature in the biography genre.

• The Miracle Worker by William Gibson
• Life of Samuel Johnson by James Boswell
• The Boy on the Wooden Box by Leon Leyson
• Apology by Plato
• The Life of Charlotte Bronte by Elizabeth Gaskell
• Churchill: A Life by Martin Gilbert
• Naked at the Feast: A Biography of Josephine Baker by Lynn Haney
• John Adams by David McCullough
• The Immortal Life of Henrietta Lacks by Rebecca Skloot
• Cyrus the Great by Xenophon
• Hurricane: The Life of Rubin Carter, Fighter by James S. Hirsch
• Einstein: His Life and Universe by Walter Isaacson

Want to learn more? Check out our educational article on Literary Genres !

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How did Ian Fleming create James Bond? He looked in the mirror.

A new biography, ‘ian fleming: the complete man,’ by nicholas shakespeare, recounts the storied life of the writer behind 007.

Some years ago, I gave a talk to the graduating seniors at a local school. Whatever I said that night — probably something about the importance of books and reading — has utterly vanished from my memory except for three words. During the question period, a young woman stood up and asked, “Mr. Dirda, what fictional character would you most like to be?” A number of possibilities flashed through my mind, and I almost said Jane Austen’s Mr. Darcy, because then I’d be married to Elizabeth Bennet. But instead, I put on my most sardonic smile and silkily whispered into the microphone, “Bond, James Bond.”

It’s hard to imagine that I might have answered “Secretan, James Secretan.” That was what Ian Fleming initially called his hero in the typescript of “Casino Royale,” first published in April 1953. Fortunately, just as Arthur Conan Doyle realized that Sherrinford Holmes wasn’t quite the right name for the greatest of all detectives, Fleming recognized that he needed something punchier than “Secretan” for the greatest of all secret agents.

According to Nicholas Shakespeare, in his huge, immensely detailed new biography, “ Ian Fleming: The Complete Man ,” there may have been two or three sources behind the final, seemingly inevitable choice. The 43-year-old Fleming, who was living two months of each year in Jamaica, regularly consulted “Birds of the West Indies,” by a Philadelphia ornithologist named James Bond. And back when he was working in British Naval Intelligence during World War II, one operation was saved from disaster by a heroic Rodney Bond. Somehow, though, I can’t imagine we’d be watching movies today about Rodney Bond.

One of the strengths — or, arguably, weaknesses — of Shakespeare’s 821-page biography is its length. If not exactly too much of a good thing, there’s always a little more than seems necessary. Take the long central section devoted to Fleming’s wartime intelligence work. While documentation is sketchy, since the relevant records were either destroyed or remain classified, Shakespeare deduces that Fleming was far more than the deskbound assistant to the head of Naval Intelligence and quite probably the department’s guiding mastermind. In these chapters, he describes in detail espionage strategies, meetings with American spymasters and botched operations — all of which may well be catnip to students of military history but will send other readers off for a cat nap. In any event, Fleming almost certainly based Bond on a composite of several agents and commandos he knew, as well as himself and his intrepid older brother, Peter Fleming, who is now remembered mainly for the classic travel book “Brazilian Adventure.”

Overall, though, “Ian Fleming: The Complete Man” is a dazzling, even dizzying achievement, despite that ludicrous-sounding subtitle. A “complete man,” Fleming believed, would resemble one of those swashbuckling Elizabethan all-rounders who were simultaneously poets, courtiers, lovers and soldiers. For Fleming, I think being a “complete man” remained largely aspirational. In his personal life, he was, by turns, a youthful rebel, a resentful mama’s boy, a modern-day Don Juan and a middle-aged melancholiac.

Consider his family background, tailor-made for psychological disaster. Grandfather Robert Fleming was Britain’s leading banker, one of the richest men in the world. After Ian’s father, Valentine, was killed during World War I, Winston Churchill, no less, wrote the obituary for the Times. From that point on, Val was held up to his four young sons as an unattainable ideal. His widow, Eve, would blackmail the boys into doing what she wanted by invoking their father’s spirit and example. As it happens, the eldest, Peter, excelled at everything effortlessly, from athletics to academics, was dubbed the “king” of Eton and was even regarded as a good bet to become a future prime minister. Born in 1908, Ian, the moody, insecure second son, dwelled in Peter’s shadow until the Bond novels reversed the relationship. The two youngest brothers happily entered the banking business but, like Scottish lairds, spent as much time as possible hunting and fishing on their highland estate.

Eve Fleming ruled Ian through her absolute control of the family purse strings. She even made him break up with the woman he wanted to marry by threatening to cut off his allowance. Mummy herself was extravagant in every way: A maid said that if it were raining, Eve would put on a new pair of shoes to walk to her waiting car and never wear them again. She never remarried, partly because her late husband’s will stipulated that she would then forfeit much of her enormous wealth. But this didn’t preclude an affair with the painter Augustus John, with whom she had a daughter, Ian’s half sister, Amaryllis.

As Ian grew up, he not only discovered an ability to charm women, he also used it. Again and again, Shakespeare notes his subject’s casual seductions, affairs with the girlfriends and wives of his friends, and, most disagreeably, a gigolo-like willingness to accept gifts and money from rich older women in his thrall — one gave him the equivalent of what would today be a quarter-million dollars to build his Jamaican compound, Goldeneye. While obviously whip smart and capable, Fleming nonetheless found nearly all his jobs, starting with a stint as a journalist for Reuters, through the interventions of fond women.

Yet, once hired, he would quickly win the almost paternal affection of his boss, whether Adm. John Godfrey of Naval Intelligence or Lord Kemsley, owner of the Sunday Times, who made him the paper’s foreign editor, with an exorbitant salary and two months of paid holiday each year. Fleming lived luxuriously even before the first Bond movies started to bring in the serious cash. While 007 might occasionally be an agent provocateur, his creator was always an agent-entrepreneur.

Again and again, Shakespeare’s biography reminds us of what a tight little island Britain could be for those of its privileged class. If you’ve read any of the books about the Brideshead generation , you’ll find many of the same people cropping up in Fleming’s life, including the critic Cyril Connolly, a former Eton classmate, and Evelyn Waugh, whose novels Fleming would like to have written more than his own. He even counted the multitalented showman Noel Coward as a confidant and once shared a wealthy girlfriend with Roald Dahl, to whom he gave the idea for a famous story, “Lamb to the Slaughter.”

Then there was the socialite Ann O’Neill (nee Charteris), whose Etonian husband was killed in World War II while she was having an intense affair with the newspaper magnate Esmond Rothermere, whom she eventually married. Soon thereafter, Ann broke Rothermere’s heart by sleeping with their friend Ian Fleming. Against the advice of almost everyone he knew, Ian married Ann in 1952, having kept his mind off the upcoming nuptials by writing “Casino Royale.” It took him just a month. A son was soon born, but the new Mrs. Fleming loved dinner parties and house guests, while her new husband was at his happiest snorkeling and playing golf. Neither was faithful to the other.

As with his excellent biography of the travel writer Bruce Chatwin, Shakespeare has produced one of those books you can happily live in for weeks. It will deservedly become the standard life of Ian Fleming, replacing a fine one by Andrew Lycett that appeared almost 30 years ago. Bond devotees, however, should be aware that there are no close analyses of the novels, and the only films discussed are the early ones with which Fleming was involved. But Shakespeare certainly recognizes that Bond’s creator, especially when young, behaved much like his hero toward women — in fact, much worse. He regularly comes across as a callous, sexist jerk, no matter how vehemently his friends, lovers and admirers testify to the man’s charisma, thoughtfulness and ability to light up a room. Not even Fleming’s book collecting — he focused on works that changed history — wholly improves his image: It seems to have been more for ostentation than for use. However, he did establish and underwrite Britain’s premier bibliophilic journal, the Book Collector, an act that pays many debts.

A far more likable, even mellow Fleming appears in his letters, edited by his nephew Fergus Fleming for the book “The Man With the Golden Typewriter” (2015). The creator of James Bond could be remarkably courteous in answering correspondents, even those who pointed out his factual errors or other slips. Didn’t he know that the perfume Vent Vert came from Balmain, not Dior, and that a Beretta is a lady’s gun rather than a proper weapon for a secret agent? The letters also make plain that the directors of the publisher Jonathan Cape despised the Bond books, regarding them as sadistic trash even though they ended up keeping the firm afloat.

Fleming died in 1964 at the relatively young age of 56 from cardiac disease, to which smoking 60 or more cigarettes a day doubtless contributed. Today, the real question is: Do the original James Bond thrillers stand up to rereading in the 21st century?

All too often, the only version of 007 most people are familiar with is the one created by Hollywood. Until the humorless, even unpleasant, albeit gripping Daniel Craig films, most of the Bond movies could be likened to commedia dell’arte, drawing on a set formula and softening the violence with cheeky quips, double entendres and even a weird campiness, as in the two films featuring Jaws, the assassin with steel teeth. The movies remain, above all, pure eye candy through their glamorous settings, expertly choreographed action sequences and one gorgeous “Bond girl” after another. Not that Bond himself isn’t the ultimate heartthrob. As I once heard a woman sigh, most men are boys, Sean Connery is a man.

Over the years, the movies have paid less and less attention to the Fleming thrillers from which they borrow their titles. In my experience, the original books — a dozen novels and two short-story collections — remain compulsive page-turners, while being grounded in their time, the Cold War era of the 1950s. Bond is nothing if not patriotic and deeply conservative. In “Casino Royale,” he maintains that “women were for recreation,” while in “Live and Let Die” the Black characters are largely stereotypes. Whether working for SMERSH or SPECTRE, Fleming’s villains invariably turn out to be “foreigners”: Even Sir Hugo Drax, from “Moonraker,” was born Hugo von der Drache.

Still, the best novels — “Casino Royale,” “From Russia, With Love,” “Dr. No,” “Moonraker” and “Goldfinger” — surmount any occasional drawbacks, energized as they are by elements from Fleming’s own life as well as by the speed and freshness of his prose. Who else could make a long chapter about a bridge game (in “Moonraker”) so riveting? Little wonder that poet Philip Larkin spoke of Fleming’s “mesmerizing readability.” What’s more, though the books emphasize action and violence, they don’t utterly shy away from elegance and lyricism, or even the occasional philosophical reflection:

“Mania, my dear Mister Bond, is as priceless as genius. Dissipation of energy, fragmentation of vision, loss of momentum, the lack of follow-through — these are the vices of the herd.” Doctor No sat slightly back in his chair. “I do not possess these vices. I am, as you correctly say, a maniac — a maniac, Mister Bond, with a mania for power. That” — the black holes glittered blankly at Bond through the contact lenses — “is the meaning of my life. That is why I am here. That is why you are here. That is why here exists.”

Those last three sentences, and particularly the last, demonstrate that when Ian Fleming is on point, nobody does it better.

Ian Fleming

The Complete Man

By Nicholas Shakespeare

Harper. 821 pp. $45

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• Harvard Style Bibliography | Format & Examples

Harvard Style Bibliography | Format & Examples

Published on 1 May 2020 by Jack Caulfield . Revised on 7 November 2022.

In Harvard style , the bibliography or reference list provides full references for the sources you used in your writing.

• A reference list consists of entries corresponding to your in-text citations .
• A bibliography sometimes also lists sources that you consulted for background research, but did not cite in your text.

The two terms are sometimes used interchangeably. If in doubt about which to include, check with your instructor or department.

The information you include in a reference varies depending on the type of source, but it usually includes the author, date, and title of the work, followed by details of where it was published. You can automatically generate accurate references using our free reference generator:

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Formatting a harvard style bibliography, harvard reference examples, referencing sources with multiple authors, referencing sources with missing information, frequently asked questions about harvard bibliographies.

Sources are alphabetised by author last name. The heading ‘Reference list’ or ‘Bibliography’ appears at the top.

Each new source appears on a new line, and when an entry for a single source extends onto a second line, a hanging indent is used:

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Reference list or bibliography entries always start with the author’s last name and initial, the publication date and the title of the source. The other information required varies depending on the source type. Formats and examples for the most common source types are given below.

• Entire book
• Book chapter
• Translated book
• Edition of a book

Journal articles

• Print journal
• Online-only journal with DOI
• Online-only journal without DOI
• General web page
• Online article or blog
• Social media post

Newspapers and magazines

• Newspaper article
• Magazine article

When a source has up to three authors, list all of them in the order their names appear on the source. If there are four or more, give only the first name followed by ‘ et al. ’:

Sometimes a source won’t list all the information you need for your reference. Here’s what to do when you don’t know the publication date or author of a source.

Some online sources, as well as historical documents, may lack a clear publication date. In these cases, you can replace the date in the reference list entry with the words ‘no date’. With online sources, you still include an access date at the end:

When a source doesn’t list an author, you can often list a corporate source as an author instead, as with ‘Scribbr’ in the above example. When that’s not possible, begin the entry with the title instead of the author:

Though the terms are sometimes used interchangeably, there is a difference in meaning:

• A reference list only includes sources cited in the text – every entry corresponds to an in-text citation .
• A bibliography also includes other sources which were consulted during the research but not cited.

In Harvard referencing, up to three author names are included in an in-text citation or reference list entry. When there are four or more authors, include only the first, followed by ‘ et al. ’

In Harvard style referencing , to distinguish between two sources by the same author that were published in the same year, you add a different letter after the year for each source:

• (Smith, 2019a)
• (Smith, 2019b)

Add ‘a’ to the first one you cite, ‘b’ to the second, and so on. Do the same in your bibliography or reference list .

To create a hanging indent for your bibliography or reference list :

• Highlight all the entries
• Click on the arrow in the bottom-right corner of the ‘Paragraph’ tab in the top menu.
• In the pop-up window, under ‘Special’ in the ‘Indentation’ section, use the drop-down menu to select ‘Hanging’.
• Then close the window with ‘OK’.

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If you want to cite this source, you can copy and paste the citation or click the ‘Cite this Scribbr article’ button to automatically add the citation to our free Reference Generator.

Caulfield, J. (2022, November 07). Harvard Style Bibliography | Format & Examples. Scribbr. Retrieved 15 April 2024, from https://www.scribbr.co.uk/referencing/harvard-bibliography/

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Author Interviews

Caleb carr's new book is a memoir about life spent with his beloved rescue cat.

Scott Simon

NPR's Scott Simon talks with Caleb Carr, author of the best-selling novel, "The Alienist." Carr has written a memoir, reflecting on his life through the companionship of his scrappy rescue cat, Masha.

SCOTT SIMON, HOST:

Much of the story we're about to hear will be delightful, and some of it will be hard. Caleb Carr is our guest. He's written a memoir called "My Beloved Monster." It's the story of his life over 17 years with Masha, whom he calls his emotionally remarkable cat. They share play and jokes, affection and, finally, the challenge of cancer. Caleb Carr, bestselling novelist, author of "The Alienist" and "The Angel of Darkness," joins us now from his home in upstate New York. Thanks so much for being with us.

CALEB CARR: Thank you so much, Scott.

SIMON: How did you and Masha kind of pick each other out at the animal shelter outside of Rutland, Vt.?

CARR: She picked me out. I sort of turned around. I sensed something, and I turned around, and there was this cat in a little cage, and she had decided already that we were at least going to have an interview together. And then when we had the interview, she really decided that I was going to take her home.

SIMON: You found out she'd kind of rejected everyone else, hadn't she?

CARR: Well, she had been abandoned in an apartment and locked up when the people moved, which is, unfortunately, a very common thing in this country. And she'd made so much noise, breaking things and kind of banging around, that she got taken into a shelter. But at the shelter, that experience, I think, largely had just made her very distrustful. And she had attacked the staff. She had attacked people who tried to adopt her. But when I went into the interview room with her, she was as sweet as could be. And the one attendant sort of grabbed me by the arm and said, you've got to take that cat.

SIMON: She was a Siberian forest cat, I guess you discovered.

CARR: She was a breed that I - until then, I had never heard of. They really are ferociously physical and just fascinating cats, really smart. They really have this wild intelligence.

SIMON: Living in the country, you gave her a lot to react to. Let me put it that way.

CARR: Yes, yes. As I say in the book, there is a big debate about whether cats should be allowed outdoors these days. But when you live in some place that's as wild as this - and it really is just a house on - in the foothills of a mountain - I couldn't have stopped her from going outside. It would have killed her. She took one look out the door at the trees that start right at the back porch of the house, and she just was home, and she patrolled that with a dedication and a fierceness that I have never seen before. And Siberians are known for that.

SIMON: May I ask you about your childhood, Mr. Carr?

CARR: Sure.

SIMON: And I'll take the license to call it a horrible childhood. Your father was often drunk and violent. How did a cat named Zorro (ph) and your love of history help you survive?

CARR: Well, I was the child in my family that noticed things and commented on them. When you're dealing with alcoholics, it doesn't earn you any points. And so I experienced a certain amount of violence. And because of that, most nights I was up most of the night and watching and listening what the adults were doing just in case it was coming my way, basically. And Zorro was the first cat that I really chose that was mine. She would come out and lie down next to me as I sat on the top of the stairs. And she had this remarkable capacity to make me feel safe and sort of understood.

SIMON: Cats are really good at companionship, aren't they? They're just there for us.

CARR: Yeah, they are really good at companionship. It's a distinctly different kind of companionship than you get from any other animal, but once you accept it on their terms, it's really amazing. They are always there, often without being there. But they're beside you. They're not on top of you the way that dogs are.

SIMON: Can you tell us about Masha's taste in music?

CARR: Masha had a very refined ear for music, and it's not as weird as it sounds. Cats are very sensitive to the upper ranges of sonics, and they don't like high-pitched sounds, which means that most of the popular music, you're going to find that cats don't really enjoy. But when I discovered that she liked classical music, I would experiment with playing different composers for her while I was working. Before long, it was clear that she had a particular affinity for Wagner. And I know it sounds crazy, but it was true. And I eventually made her her own CDs of orchestral selections, and particularly the prelude to "Das Rheingold."

(SOUNDBITE OF RICHARD WAGNER'S "DAS RHEINGOLD")

CARR: She would just come shooting in from wherever she was. She would hear it going on in my study. If she wasn't already there, she would come shooting in, throw herself on the floor and just start rolling in absolute ecstasy. And I asked a musicologist friend of mine about it, and he said, well, that doesn't surprise me at all. It's probably the most primal piece of classical music that there is.

SIMON: After almost 17 years together, you and Masha just grew sick in astonishingly similar ways, didn't you?

CARR: Yes. And that's part of the most astonishing part of the story. Masha had - certainly had arthritis from the time she was very young. We never really knew what exactly caused it, whether it was trauma or abuse or just having the genetics for it. But she had arthritis in her back legs and her hind legs, and I ended up coming down with peripheral neuropathy quite badly. And then, eventually, we both ended up coming down with cancer.

And it was part of the amazing - the most amazing details of our story that our illnesses were so similar. Because of that, we knew we were tied in even more in terms of knowing what to do for each other and knowing what was going on with each other. And she made it possible - really possible for me to survive. I like to think - I hope that I did the same for her.

SIMON: What do you think that cord is between us and the animals we love, as you've experienced it, and especially strongly with Masha?

CARR: There are so many things that are difficult and lacking in human life that are provided by animals. And there are so many things that we've gotten away from in our civilized human life that are so basic to being alive that animals provide. And it's just that it is so much more basic. And to use a word I used in reference to Masha's musical taste, it's so much more primal that it takes us to a place that kind of defies all of the complications that we've put on life in our own species.

SIMON: Caleb Carr - his book, "My Beloved Monster." I'm so glad you wrote it. Thanks so much for being with us.

CARR: Thank you so much, Scott.

Copyright © 2024 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

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Before He Died in Prison, Aleksei Navalny Wrote a Memoir. It’s Coming This Fall.

In the book, Navalny tells his story in his own words, chronicling his life, his rise as an opposition leader, and the attempts on his life.

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By Alexandra Alter

During the years leading up to his death in a Russian prison, Aleksei A. Navalny , the Russian opposition leader, was writing a memoir about his life and work as a pro-democracy activist.

Titled “Patriot,” the memoir will be published in the United States by Knopf on Oct. 22, with a first printing of half a million copies, and a simultaneous release in multiple countries.

Navalny, who rose to global prominence as a fierce critic of President Vladimir V. Putin of Russia, resisted the Kremlin’s repeated attempts to silence him through physical harm, arrests and imprisonment in a remote Arctic penal colony, where he died in February , at age 47.

The book, telling his story in his own words, comes as a final show of defiance, his widow, Yulia Navalnaya, said in a statement, and could have a galvanizing effect on his followers.

“This book is a testament not only to Aleksei’s life, but to his unwavering commitment to the fight against dictatorship — a fight he gave everything for, including his life,” Navalnaya said. “Through its pages, readers will come to know the man I loved deeply — a man of profound integrity and unyielding courage. Sharing his story will not only honor his memory but also inspire others to stand up for what is right and to never lose sight of the values that truly matter.”

In a news release, Knopf said that the memoir “expresses Navalny’s total conviction that change cannot be resisted and will come.”

Navalny wrote the entire memoir himself, dictating some parts, and Yulia Navalnaya is working with the publisher to edit and finalize the manuscript, according to a Knopf representative. The book has already been translated into 11 languages, Navalnaya wrote on X , and a Russian-language edition of the book will be available.

The project is a more sensitive endeavor than most memoirs by high profile political figures. Navalny’s supporters and his team, which has carried on his work, continue to draw the scrutiny of Russian authorities as they direct criticism at the Kremlin against the backdrop of the war in Ukraine.

Navalny began working on his memoir in 2020, after surviving a near-fatal poisoning with a nerve agent, an attack that Western intelligence officials believed was a state-sponsored assassination attempt . The book covers his youth, his rise as a political activist, his marriage and family, his political career as an opposition leader, and the attempts on his life and attacks on those close to him, according to the publisher.

Navalny had political aspirations, but was barred from a presidential run following a conviction on fraud charges by a Russian court, widely seen as politically motivated. He exerted his political influence in other ways: organizing protests against Putin and building offices and investigative teams across the country to uncover corruption.

Navalny wrote much of the memoir while he was in Germany and recovering from poisoning. In February 2021, he returned to Russia, knowing that he would likely be detained or attacked again. He was arrested at the airport, and was later charged with embezzlement and fraud in a trial that international observers concluded was also politically motivated. In August 2023, he was charged with “extremism” and given a 19-year sentence. His harsh treatment in Russia’s severe penal colonies included lack of medical care and many stints in solitary confinement.

Addressing why he chose to go back to Russia to face almost certain imprisonment and possible death, Navalny said remaining in exile felt like a betrayal of his cause.

“I don’t want to give up either my country or my beliefs,” Navalny wrote in a Facebook post in January, shortly before his death. “I cannot betray either the first or the second. If your beliefs are worth something, you must be willing to stand up for them. And if necessary, make some sacrifices.”

Navalny’s return to Russia led to weeks of protests around the country, but they were eventually quashed in a fierce crackdown by the Kremlin. Even as Russia has shut down or driven away independent news media outlets and silenced many of its internal critics in an effort to smother political opposition, Navalny remained a vocal and influential figure who came to embody the country’s beleaguered pro-democracy movement.

Navalny maintained a presence on social media even behind bars, and remained a ferocious critic of Putin. His team, which was living and working in exile, continued to release exposés on corruption in Russia. He also kept working on the book, which includes never-before-seen correspondence from prison, according to the publisher.

Within Russia, thousands of his followers gathered for his funeral, despite the risk of being arrested by Russian authorities. Outside the church on the outskirts of Moscow where the service was held, people in the crowd chanted phrases like “Love is stronger than fear” and “Thank you, Aleksei.”

Even after his death, those who seek to carry on Navalny’s work and extend his legacy face threats and attacks. Last month, Leonid Volkov, who served as one of Navalny’s top organizers, was attacked with a hammer and tear gas outside his home in Lithuania’s capital.

Navalny was well aware that his activism put him at risk, but remained cheerfully defiant, with a wry, prankster-like persona that helped drive some of his viral online activism.

“I’m trying not to think about it a lot,” he said in an interview with CBS News in 2017. “If you start to think about what kind of risks I have, you cannot do anything.”

Alexandra Alter writes about books, publishing and the literary world for The Times. More about Alexandra Alter

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Salman Rushdie’s ‘Knife’ is unflinching about his brutal stabbing and uncanny in its vital spirit

FILE - Author Salman Rushdie receives the Vaclav Havel Library Foundation’s first ever lifetime achievement disturbing the peace award at the Vaclav Havel Center on Tuesday, Nov. 14, 2023, in New York. Rushdie’s first book since the 2022 stabbing he thought might end his life is both explicit in the violence Rushdie sustains and heroic in the will to live that Rushdie retains. (Photo by Evan Agostini/Invision/AP, File)

FILE - This cover image released by Random House shows “Knife: Meditations After an Attempted Murder” by Salman Rushdie. The book, about the attempt on his life that left him blind in his right eye, will be published April 16, 2024. Rushdie’s first book since the 2022 stabbing he thought might end his life is both explicit in the violence Rushdie sustains and heroic in the will to live that Rushdie retains. (Random House via AP, File)

FILE - This still image from video shows Hadi Matar, of Fairview, N.J., at left, being escorted from the stage as people tend to author Salman Rushdie, center right, at the Chautauqua Institution, in Chautauqua, N.Y., Aug. 12, 2022. Rushdie’s first book since the 2022 stabbing he thought might end his life is both explicit in the violence Rushdie sustains and heroic in the will to live that Rushdie retains. (AP Photo/File)

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NEW YORK (AP) — In Salman Rushdie’s first book since the 2022 stabbing that hospitalized him and left him blind in one eye, the author wastes no time reliving the day he thought might be his last.

“At a quarter to eleven on August 12, 2022, on a sunny Friday morning in upstate New York, I was attacked and almost killed by a young man with a knife just after I came out on stage at the amphitheater in Chautauqua to talk about the importance of keeping writers safe from harm,” Rushdie writes in the opening paragraph of the memoir “Knife,” published Tuesday.

At just over 200 pages, “Knife” is a brief work in the canon of Rushdie, among the most exuberant and expansive of contemporary novelists. “Knife” is also his first memoir since “Joseph Anton,” the 2012 publication in which he looked back on the fatwa, the death decree, issued more than 20 years earlier by Iran’s Ayatollah Ruhollah Khomeini because of the alleged blasphemy in Rushdie’s novel “The Satanic Verses.”

Rushdie was initially driven into hiding, and for years lived under constant protection. But the threat had seemingly receded and he had for some time been enjoying his preferred life of travel, social engagement and a free imagination, out at play in such recent novels as “Quichotte” and “Victory City.”

As Rushdie observes in “Knife,” subtitled “Meditations After an Attempted Murder,” he had sometimes pictured his “public assassin” turning up. But the timing of the 2022 attack seemed not just startling, but “anachronistic,” the rising of a “murderous ghost from the past,” returning to settle a score Rushdie thought long resolved. He refers to August 11, 2022, as his “last innocent evening.”

But in many ways, “Knife” is as notable for the spirit it shares with his other books as it is for the blunt and horrifying descriptions of the attack that did, and did not, change his life.

In the book’s first chapter, Rushdie praises the “pure heroism,” the physical courage of the Chautauqua Institution event moderator Henry Reese, who grabbed the assailant. But if another kind of heroism is hope and determination (and humor) in the wake of trauma, then “Knife” is a heroic book, documenting Rushdie’s journey from lying in his own blood to a return to the same stage 13 months later and attaining a state of “wounded happiness.”

LOVE AND MARRIAGE

Part of the story of “Knife” is that Rushdie’s life, even over these past two years, is about more than an act of murderous violence. He dedicates a chapter to meeting and marrying the poet Rachel Eliza Griffiths, who greeted him during a PEN America event in 2017 and revealed a “dazzling smile” Rushdie found himself unable to forget. She had been in New York City when she learned of the stabbing, and hurried on a private plane to be with him, having been told he was unlike to survive.

“I wasn’t dead,” Rushdie wrote. “I was in surgery.”

A DEPARTED FRIEND

As Rushdie recovered, he learned that his dear friend and fellow author Martin Amis was gravely ill with cancer. Rushdie and Amis were part of a circle of gifted friends from Britain that also included Christopher Hitchens and Ian McEwan. In what proved to be a farewell email, Rushdie praised the “generosity and kindness” of Amis’ encouragement after the knife attack and celebrated such Amis novels as “London Fields” and “Money.”

Amis died in May 2023.

Rushdie’s charged assailant is Hadi Matar, but the author refers to him as “The A.,” short for “The Ass” (or “Asinine man”). He does allow his imagination to expend itself on an unlikely dialogue with the fellow being he knows only through a momentous span of 27 seconds. Why even pretend to speak with his would-be killer? “I’m not looking for an apology. I do wonder how he feels, now that he has had time to think things over,” Rushdie writes.

Matar’s trial was delayed from January after a judge ruled he was allowed to seek the memoir’s manuscript and related materials.

THE HEALING

He will leave the hospital, “grow stronger in body and mind,” return to the events he attended so often before, like the annual PEN America gala. He will feel heartened by supportive messages, a “worldwide avalanche” — not just from friends, but heads of state, such as President Joe Biden, who will issue a statement citing Rushdie’s commitment to “sharing ideas without fear.”

The nearness of death, Rushdie writes, can make you feel a “great loneliness.” Words from others “make you feel that you’re not alone, that maybe you haven’t lived and worked in vain.”

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‘rust’ armorer sentenced to 18 months behind bars for halyna hutchins’ death; “you alone turned a safe weapon into a lethal weapon,” judge says, chris farley biopic package heats up market with paul walter hauser playing legendary comic & josh gad directing.

By Justin Kroll

Justin Kroll

Film Editor

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Now here is a package coming together that is sure to set the town and market on fire. Deadline is hearing that a script based on The Chris Farley Show: A Biography in Three Acts is being shopped with Paul Walter Hauser attached to play the iconic late comic and actor.

Josh Gad will direct with Lorne Michaels, who found and cast Farley in Saturday Night Live in the ’90s, producing through his Broadway Video. The package will be sold as a pitch based on the book with Scott Neustadter and Michael H. Weber penning the script.

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His success on the show would translate over to the big screen, where Farley soon would join the A-list of ’90s comedians with such hit films as Tommy Boy, Black Sheep and Beverly Hills Ninja. After being sober for three years, he would relapse and fall back in to drugs and alcohol, dying from an overdose in 1997 at 33. His death shook not just the industry but all lovers of film and comedy and immediately drew comparisons to fellow SNL alum John Belushi, who also died way too young.

For Hauser, this is the type of role he has been driving toward as his career has risen rapidly following his scene-stealing role as Tonya Harding’s bodyguard in I, Tonya. He has followed that up with leading roles in Clint Eastwood’s Richard Jewell and most recently his star-making role in Black Bird, which earned him an Emmy .

As for Gad, this would mark a big step for him as the actor takes his first step in the directing realm, taking on the story of a person that surely inspired his own comedic aspirations over the years.

Hauser is repped by CAA, Artists First and Schreck Rose Dapello; Gad is represented by CAA, Sugar 23, ImPRint and Johnson Shapiro Slewett & Kole; Farley and Colby are represented by Verve; Broadway Video is represented by CAA; and Neustadter and Weber are represented by UTA and Kaplan/Perrone.   

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