conclusion of autobiography and biography

Biography vs Autobiography: Similarities and Differences

A biography is an account of someone’s life story that is written by an author who is not the subject of the nook. An autobiography, on the other hand, involves an individual narrating their own life experiences.

The differences between biographies and autobiographies relate most prominently to the authorhship:

• Autobiography: When you read an autobiography, you’re getting the author’s own interpretation of their life.
• Biography: When you read a biography, you experience the subject’s life through someone else’s lens (Schiffrin & Brockmeier, 2012).

Biography vs Autobiography

1. biography.

A biography is a detailed account of a person’s life, scripted by an author who is not the person who is featured in the text itself.

This type of life story focuses both on factual events in the person’s life, such as birth, education, work, and death, but often also delves into personal aspects like experiences, relationships, and significant achievements.

It may also weave-in cultural and contextual factors that help illuminate the person’s motivations and core values .

Origins of Biographies

The concept of biography as a literary genre dates back to antiquity. Such works were primarily used to capture the lives of dignified individuals, mainly rulers and war heroes.

Suetonius’s Lives of the Caesars and Plutarch’s Parallel Lives are landmark examples from this ancient period (Sweet, 2010).

The popularity of biographical works only grew in the ensuing centuries, and they became a prominent part of many cultures’ literary traditions. 

Into the 18th century and during the Enlightenment, biographies began to present a more balanced portrayal of the subject. They would present both their strengths and flaws, providing a holistic perspective on the subject.

Dr. Samuel Johnson’s compilation of English poets biographies, Lives of the Most Eminent English Poets (1779-1781) ushered in a new era of biography writing by focusing on examining human nature (Ditchfield, 2018).

In the modern era, the genre has evolved and broadened, encompassing a diverse range of figures from all walks of life – there’s a biography in every niche imaginable, with each offering readers an in-depth exploration of their lives, their struggles, and their triumphs.

This demonstrates the enduring appeal of biographies and their value in providing snapshots of history through individual lenses.

Key Characteristics of Biographies

Examples of biographies.

Title: The Lives of the Most Eminent English Poets Author: Dr. Samuel Johnson   Description: Dr. Johnson’s work profiles the lives of 52 poets from the 17th and 18th centuries, including John Milton and Alexander Pope. He critiques not just the works, but also explores their personal lives and the sociopolitical contexts of their times (Johnson, 1781). Johnson’s study is invaluable for its integrated historic and biographic approach.

Title: The Life of Samuel Johnson Author: James Boswell   Description: This work by Boswell explores, in great depth, the life of his friend and mentor, Dr. Samuel Johnson. The biography offers a compelling portrayal of Dr. Johnson’s life, character, eccentricities, and intellectual prowess (Boswell, 1791). Boswell’s vivid account creates a near-physical presence of Johnson to the readers, making it one of the greatest biographies in English literature.

Title: The Rise of Theodore Roosevelt Author: Edmund Morris   Description: In this Pulitzer Prize-winning biography, Morris chronicles the early life of Theodore Roosevelt until his ascension to the U.S presidency. The work brilliantly captures Roosevelt’s extraordinary career and his transformation from a frail asthmatic boy into a robust and vigorous leader (Morris, 1979). Morris accurately represents Roosevelt’s indomitable spirit, making it an engaging and educational read.

Title: Steve Jobs Author: Walter Isaacson Description: This comprehensive biography provides a deep-dive into the life and career of Steve Jobs, the co-founder of Apple. Isaacson had unparalleled access to Jobs and those closest to him, thus presenting an intimate and detailed account. He explores Jobs’ professional endeavors as well as his personal life, revealing his ambition, intensity, and visionary mind that revolutionized several high-tech industries (Isaacson, 2011).

Title: Alexander Hamilton Author: Ron Chernow Description: Ron Chernow provides a sweeping narrative of one of America’s most compelling founding fathers, Alexander Hamilton. Chernow combines extensive research with a flair for storytelling, charting Hamilton’s evolution from an orphan into a political genius. The book sheds light on Hamilton’s crucial role in the formation of the United States’ financial system and his political ideologies (Chernow, 2004).

2. Autobiography

An autobiography is a self-written record of someone’s own life. It is a personal narrative in which the author writes about their life from their own perspective.

Autobiographies are usually centered around the author’s personal experiences, including key milestones, challenges, and achievements (Eakin, 2015).

They’re also often a defense of the person’s perspective (especially in political autobiographies) or insight into their thought processes, which can make them very intimate.

Origins of Autobiographies

The term ‘autobiography’ was first used deprecatingly by William Taylor in 1797 in the English periodical The Monthly Review, when he suggested the word as a hybrid but condemned it as ‘pedantic’.

Pioneering examples of the genre form include Thomas De Quincey’s Confessions of an English Opium-Eater (1821) and the memoirs by veterans of the Napoleonic Wars (Lejeune, 2016).

However, apart from these early instances, autobiographies have been composed by a wide array of individuals from history. 

In the early 20th century, the genre witnessed major transformations, and autobiographies started to cover a broader spectrum of experiences, including trauma, struggles, and successes.

‘Black Boy’ by Richard Wright, for instance, shares the author’s experiences with racism and his journey towards developing a literary career (Wright, 1945).

This was followed by a host of autobiographies by public figures sharing their diverse stories, such as Ernest Hemingway’s ‘A Moveable Feast’, depicting his days as a struggling young writer in Paris (Hemingway, 1964). 

Autobiography as a genre has continued to evolve over the years, and a variety of forms have emerged to communicate individual experiences globally.

As history has progressed, we see more and more people with diverse perspectives sharing their stories, broadening our understanding of the human experience (Smith & Watson, 2010).

Key Characteristics of Autobiographies 

Examples of autobiographies.

Title: Long Walk to Freedom Author: Nelson Mandela   Description: “Long Walk to Freedom” provides an in-depth exploration of ex-President Nelson Mandela, his political journey, and his stand against apartheid in South Africa. The biography offers a unique perspective into Mandela’s noble character, his indomitable spirit, and his commitment to justice when faced with grave adversities (Mandela, 1995). Mandela serves as one of our times’ great moral and political leaders through this biography.

Title: The Diary of a Young Girl Author: Anne Frank  Description: This biography provides a startling firsthand account of a young Jewish girl named Anne Frank, who with her family, hid from the Nazis in Amsterdam during World War II. Her diary entries offer profound insights into the fear, hope, and resilience she demonstrated during her two years in hiding (Frank, 1947). Frank’s posthumous biographical record serves as a reminder of the injustices of the past and as a symbol of endurance in the face of oppression.

Title: I Know Why the Caged Bird Sings Author: Maya Angelou  Description: This moving autobiography charts Maya Angelou’s early life, from experiencing racial discrimination in the South to becoming the first black streetcar conductor in San Francisco. Angelou portrays her journey of self-discovery and overcoming traumatic experiences, including racial prejudice and personal trauma, with remarkable strength and grace. Her story is one of resilience, and it speaks powerfully about finding one’s voice (Angelou, 1969). 

Title: Night Author: Elie Wiesel  Description: “Night” is Wiesel’s personal account of his experiences in Nazi concentration camps during World War II with his father. This heartbreaking narrative describes not only physical hardship and cruel atrocities but also examines the loss of innocence and the struggle to maintain faith in humanity. It stands as a testament to human resilience in the face of unimaginable horror (Wiesel, 1960).

Title: Dreams from My Father Author: Barack Obama Description: In this engaging memoir, the 44th President of the United States narrates the story of his diverse background and early life. The narrative extends from his birth in Hawaii to his first visit to Kenya, from dealing with racial identity to self-discovery. “Dreams from My Father” not only provides personal insights about Obama’s life and values but also discusses issues of race, identity, and purpose (Obama, 1995).

Similarities and Differences Between Biographies and Autobiographies

While both biographies and autobiographies are excellent sources of information and entertainment about significant figures in history (or the present!), they serve different purposes. By knowing the different purposes of each, we can develop stronger media literacy , understanding what the intention of the author is, and how we should approach the text.

Angelou, M. (1969). I Know Why the Caged Bird Sings . Random House.

Baker, J., Davis, E., & Thompson, K. (2013). Reflection and Emotions in Autobiography . Chicago University Press.

Boswell, J. (1791). The Life of Samuel Johnson . J.R. Taylor.

Brown, J., & Brown, S. (2018). Thematic Focus in Autobiography Writing . Princeton University Press.

Chernow, R. (2004). Alexander Hamilton . Penguin Books.

Ditchfield, S. (2018). Extracting the Domestic from the Didactic: Transmission and Translation of the Sacred in The Lives of the Ancient Fathers (1672–1675). Church History and Religious Culture, 98 (1), 28-50.

Eakin, P. J. (2015). How Our Lives Become Stories: Making Selves . Cornell University Press.

Frank, A. (1947). The Diary of a Young Girl . Contact Publishing.

Hemingway, E. (1964). A Moveable Feast . Charles Scribner’s Sons.

Isaacson, W. (2011). Steve Jobs . Simon & Schuster.

Johnson, M., & Johnson, S. (2017). A Comprehensive Guide to Biography Writing . New York: Penguin.

Johnson, S. (1781). The Lives of the Most Eminent English Poets . Printed by C. Bathurst, J. Buckland [and 28 others in London].

Jones, B. (2015). The Art of Writing Biographies: An Objective Approach . Oxford University Press.

Lejeune, P. (2016). On Autobiography . University of Minnesota Press.

Mandela, N. (1995). Long Walk to Freedom: The Autobiography of Nelson Mandela . Macdonald Purnell.

Miller, R. (2014). The Self as the Subject: Autobiography Writing . Stanford University Press.

Morris, E. (1979). The Rise of Theodore Roosevelt . Coward, McCann & Geoghegan.

Obama, B. (1995). Dreams from My Father: A Story of Race and Inheritance . Crown Publishing Group.

Schiffrin D., & Brockmeier J. (2012). Narrative Identity and Autobiographical Recall. Royal Institute of Philosophy Supplements, 70 , 113-144.

Smith, J., Davis, M., & Thompson, S. (2012). Third Party Narratives: An Exploration of Biography Writing . Cambridge University Press.

Smith, S., & Watson, J. (2010). Reading Autobiography: A Guide for Interpreting Life Narratives . University of Minnesota Press.

Sweet, R. (2010). Biographical Dictionaries and Historiography. Bibliothèque d’Humanisme et Renaissance, 72 (2), 355–368.

Wiesel, E. (1960). Night . Hill & Wang.

Williams, T. (2019). The Importance of Facts in Biographies . HarperCollins.

Wright, R. (1945). Black Boy: A Record of Childhood and Youth . Harper & Brothers.

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How to Write a Conclusion for a Biography

Last Updated: March 30, 2023 Fact Checked

This article was co-authored by Alexander Peterman, MA . Alexander Peterman is a Private Tutor in Florida. He received his MA in Education from the University of Florida in 2017. There are 13 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 114,675 times.

Biographies offer readers a unique glimpse into the lives of others. Some biographies are supportive, while others are critical. Some observe a life through a political perspective, while others are told through the context of history and particular circumstances. However the story is told, the biography’s conclusion should offer the readers a sense of closure. If you describe the subject’s legacy, incorporate personal details, and support your main thesis, you can write a successful conclusion for a biography.

Reminding the Reader of the Subject’s Importance

• A conclusion in Jane Austen’s biography, for example, should mention that she wrote 6 novels, some of which are regarded among the memorable and influential works of English literature. [2] X Research source

• A biography about Martin Luther, the 16th-century monk who lead the Protestant Reformation, should mention his impact on the development of religious beliefs throughout Europe. Not only did he challenge the ruling Catholic Church, but he made the Bible more accessible to all individuals, not just the clergy. A conclusion should mention that his actions influenced religious beliefs during the Renaissance.

• A biography of Susan B. Anthony, for example, could mention that her actions and beliefs influenced generations of women and their continued fight for gender equality.
• A conclusion of the biography of Albert Einstein could mention that his theories and publications have influenced the development of quantum theory and generations of scientists who work toward unifying his theories of the universe. [4] X Research source
• A biography of author Upton Sinclair could mention that his novel The Jungle influenced the American public health system and helped create laws for regulating the food and drug industries. [5] X Research source
• For instance, a biography written by your grandmother may focus on how moving to a metropolitan area when she got married changed her perspective on women in the workforce.
• If you’re writing the biography about yourself , note the greatest life lessons you’ve learned or the biggest achievements you’ve had so far.

Including Personal Details

• Discuss how they loved visiting their grandmother, or mention that their favorite place was a quiet cabin in the mountains.

• The late Nelson Mandela led an influential, prominent, and successful life as a South African activist and former president. Although he earned many awards and honors, he admitted that he was not a very good student when he was trying to earn a law degree. [8] X Research source A reader may be able to better understand that Nelson Mandela had to work hard during his life.

• Weave their personal interests into the conclusion by acknowledging how those interests influenced their work or life decisions.

Bringing It All Together

• Briefly remind the audience of the key points that influenced your thesis. Perhaps your subject moved a lot as a child, and you believe the subject’s bestselling novels were influenced by this. Point out that the main character in the novel is often on the go, and that was the basis for your thesis.

• If you believed that the subject’s actions later in life were a result of their experiences during war, briefly reassert what major decisions you think were affected. Perhaps they participated in anti-war protests, founded an organization that promotes peace, and worked to uphold human rights. Make a note that their actions revolved around establishing peace.
• Remind the reader what makes the subject unique or special and what life events demonstrate these qualities.

• Instead of saying, "in conclusion," try to provide your reader with a subtle transition instead. Conclude by saying, "Because of the magic and popularity of her novels, I believe that J.K. Rowling will continue to influence young readers for generations to come."

• This is an exception to the rule of not adding new information to the conclusion, as quotes shouldn’t be repeated throughout the biography.

• Conclude with a sense of hope or continued progress. Allow your reader to imagine that this person’s life story will continue influence the lives of others. If your subject is still alive, for example, provide a hopeful ending by saying “Elizabeth continues to fight for the rights of those who have been repressed by being a vocal leader in the United States Senate.”

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• ↑ https://penandthepad.com/write-conclusion-biography-5840696.html
• ↑ http://www.oxfordbibliographies.com/view/document/obo-9780199846719/obo-9780199846719-0081.xml
• ↑ http://penandthepad.com/write-conclusion-biography-5840696.html
• ↑ http://www.infoplease.com/encyclopedia/people/einstein-albert-major-contributions-to-science.html
• ↑ https://www.nytimes.com/interactive/projects/cp/obituaries/archives/upton-sinclair-meat-industry
• ↑ https://grammar.yourdictionary.com/writing/how-to-write-a-biography.html
• ↑ https://www.nelsonmandela.org/content/page/biography
• ↑ http://writingcenter.unc.edu/handouts/conclusions/
• ↑ https://www.grammarly.com/blog/how-to-write-a-bio/
• ↑ http://writingcenter.gmu.edu/articles/7015
• ↑ https://www.uvm.edu/wid/writingcenter/tutortips/engssupport.html
• ↑ http://www.tameri.com/write/nonfiction/biography.html

About This Article

Writing the conclusion of your biography assignment is an opportunity to bring your points together and leave a lasting impression on your readers. Use your conclusion to summarize your subject’s achievements and the impact they had on the world. For example, if you're writing a paper about Jane Austen, you could mention her influence on modern literature and the lasting popularity of her novels. You can also revisit the opening scene or a key event from your biography to link your conclusion back to your introduction. If you find a good quote from your subject or one of their critics that highlights your thesis, include this in your conclusion. For more tips from our Educational co-author, including how to include examples to support your thesis, read on! Did this summary help you? Yes No

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Shaping Your Legacy: How to Write a Compelling Autobiography

• The Speaker Lab
• March 12, 2024

Table of Contents

Ever thought about how your life story would read if it were a book? Writing an autobiography is like creating a map of your personal journey, each chapter representing milestones that shaped you. But where do you start and how can you ensure the tale holds interest?

This guide will help unravel those questions by delving into what makes an autobiography stand out, planning techniques to keep your narrative on track, writing tips for engaging storytelling, and even ethical considerations when revealing private aspects of your life.

We’ll also touch on refining drafts and navigating publishing options. By the end of this read, you’ll be equipped with all the insights you need to create a compelling autobiography!

Understanding the Essence of an Autobiography

An autobiography provides a comprehensive view of one’s life journey from birth to the present day. Imagine climbing into a time machine where every chapter represents different eras in your life. The goal of an autobiography is to allow readers to explore a factual, chronological telling of the author’s life.

Autobiographies aren’t merely catalogues of events, however; they need soulful introspection too. Think about why certain episodes mattered more than others and how those experiences influenced your perspectives or decisions later on.

You’ll also want to infuse emotional honesty, allowing yourself vulnerability when recalling both triumphant milestones and painful obstacles. Authenticity creates connections between authors and their audience, so let them see real human emotions behind every word written.

Distinguishing Features Of An Autobiography

The unique thing about autobiographies is they are first-person narratives . This allows readers to experience everything through your eyes, as if they’re living vicariously through you. From triumphs to trials, each page unravels another layer of who you are.

While memoirs are also first-person narratives of a person’s life, there are different from autobiographies. In a memoir, the author focuses on a particular time period or theme in their life. If you’d rather skip the details and dates needed for an autobiography and focus more on emotional truths, you might consider writing a memoir.

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Pre-Writing Stage: Planning Your Autobiography

The planning stage is a crucial part of writing your autobiography. It’s where you map out the significant events in your life, establish a timeline, and identify who will be reading your story.

Selecting Key Life Events

To start, you need to pinpoint key moments that have shaped you. While you will include plenty of factual details in your autobiography, you won’t include every single one. Rather, you’ll be spending the majority of your autobiography focusing on the transformative experiences that defined your life journey. After all, an autobiography is not just a catalogue of events; it’s also an exploration into what these experiences meant to you.

Establishing A Timeline

Next up is establishing a timeline for your narrative flow. Since you’re writing an autobiography, it’s important to first map out your story chronologically so that you can keep your events straight in your mind. MasterClass has several suggestions for key elements you might want to include in your timeline.

Identifying Your Audience

Finding out who’ll read your book helps shape its tone and style. Self-Publishing School says understanding whether it’s for close family members or broader public can guide how personal or universal themes should be presented.

While this process might feel overwhelming initially, take time with this stage. Good planning sets solid foundations for creating an engaging autobiography.

Writing Techniques for an Engaging Autobiography

If you’re on the journey to pen down your life story, let’s dive into some techniques that can help transform it from a simple narrative into a riveting read. An engaging autobiography is more than just facts and dates—it’s about weaving your experiences in such a way that they captivate readers.

Incorporating Dialogue

The first technique involves incorporating dialogue. Rather than telling your audience what happened, show them through conversations. It lets the reader experience events as if they were there with you. As renowned author Stephen King suggests , dialogue is crucial in defining a the character of a person (including yourself).

Using Vivid Descriptions

Vivid descriptions are another effective tool in creating an immersive reading experience. But remember: overdoing it might overwhelm or bore the reader, so find balance between being descriptive and concise.

Narrative Techniques

Different narrative techniques can also enhance storytelling in autobiographies. For instance, foreshadowing creates suspense; flashbacks provide deeper context; and stream of consciousness presents thoughts as they occur naturally—a powerful way to share personal reflections.

All these writing tools combined will give you a gripping account of your life journey—one where every turn of page reveals more layers of depth and dimensionality about who you are as both character and narrator.

Structuring Your Autobiography for Maximum Impact

Deciding on the right structure for your autobiography is essential to ensure your book captivates readers and keeps them engaged.

The first step towards structuring your autobiography effectively is deciding whether to organize it chronologically or thematically. A chronological approach takes readers on a journey through time, letting each event unfold as you experienced it. On the other hand, a thematic approach revolves around central themes that have defined your life—think resilience, ambition or transformation—and might jump back and forth in time.

Creating Chapters

An effective way to manage the vast amount of information in an autobiography is by dividing it into chapters. Each chapter should be structured around a specific time frame (if you’re opting for chronological order) or theme (if taking the thematic approach). The key here isn’t necessarily sticking rigidly to these categories but using them as guides to help shape and direct your narrative flow.

Crafting Compelling Beginnings and Endings

A strong beginning pulls people into your world while an impactful ending stays with them long after they’ve closed the book—a little like how memorable speeches often start with something surprising yet relatable and end leaving audiences pondering over what they’ve heard. So consider starting off with something unexpected that gives insight into who you are rather than birthplace/date details right away. For endings, look at wrapping up major themes from throughout the book instead of simply closing out on latest happenings in your life.

Remember, structuring an autobiography is as much about the art of storytelling as it is about chronicling facts. Use structure to draw readers in and take them on a journey through your life’s highs and lows—all the moments that made you who you are today.

Ethical Considerations When Writing an Autobiography

When penning your life story, it’s important to respect privacy and handle sensitive issues well. Because let’s face it, writing about others in our lives can be a slippery slope. We need to tread carefully.

Respecting Privacy: Telling Your Story Without Invading Others’

The first thing we have to consider is the right of privacy for those who cross paths with our narrative journey. While they might play crucial roles in our stories, remember that their experiences are their own too.

A good rule of thumb is to get explicit consent before mentioning anyone extensively or revealing sensitive information about them. In some cases where this isn’t possible, anonymizing details or using pseudonyms could help maintain privacy while keeping the essence of your story intact. Author Tracy Seeley sheds more light on how one should handle such situations responsibly.

Navigating Sensitive Topics With Care

Sensitive topics often make for compelling narratives but dealing with them requires tact and empathy. You’re walking a tightrope, balancing honesty and sensitivity, a fall from which can lead to hurt feelings or even legal troubles.

An excellent way around this dilemma would be by focusing on how these experiences affected you personally rather than detailing the event itself. Remember, your autobiography is an opportunity to share your life experiences, not just a platform for airing grievances or settling scores.

Maintaining Honesty: Your Authentic Self Is the Best Narrator

Above all else, stay truthful when writing your autobiography, both when you’re writing about sensitive topics and even when you’re not. While it can be tempting to bend the facts so that your audience sees you in a more positive light, maintaining honesty is the best thing you can do for yourself.

Editing and Revising Your Autobiography

Your initial draft is finished, but the job isn’t done yet. Editing and revising your autobiography can feel like a daunting task, but it’s essential for creating a polished final product.

The Importance of Self-Editing

You may feel that you have written your autobiography perfectly the first time, but there are always ways to make it better. The beauty of self-editing lies in refining your story to make sure it resonates with readers. You’re not just fixing typos or grammar mistakes; you’re looking at structure, flow, and consistency. Essentially you’re asking yourself: does this piece tell my life story in an engaging way?

Inviting Feedback from Others

No matter how meticulous we are as writers, our own work can sometimes evade us. Inviting feedback from others is invaluable during the revision process. They provide fresh eyes that can spot inconsistencies or confusing parts that may have slipped past us.

Hiring a Professional Editor

If you’re serious about publishing your autobiography and making an impact with your words, hiring a professional editor can be worth its weight in gold. An editor won’t just fix errors—they’ll help streamline sentences and enhance readability while respecting your unique voice.

Remember to approach editing and revising with patience—it’s part of the writing journey. Don’t rush through it; give each word careful consideration before moving onto publication options for your autobiography.

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Publishing Options for Your Autobiography

Once you’ve spent time and energy creating your autobiography, the following challenge is to make it available for others. But don’t fret! There are numerous options available for releasing your work.

Traditional Publishing Houses

A conventional path many authors take is partnering with a traditional publishing house . These industry giants have extensive resources and networks that can help boost the visibility of your book. The process may be competitive, but if accepted, they handle everything from design to distribution—letting you focus on what matters most: telling your story.

Self-Publishing Platforms

If you want more control over every aspect of publication or seek a faster route to market, self-publishing platforms like Amazon Kindle Direct Publishing (KDP), offer an accessible alternative. With this option, you manage all aspects including cover design and pricing ; however, it also means greater responsibility in promoting your book.

Bear in mind that both options have their own pros and cons, so consider them carefully before making any decisions.

Marketing Your Autobiography

Now that you’ve crafted your autobiography, it’s time to get the word out. You need a plan and strategy.

Leveraging Social Media

To start with, use your social platforms as launching pads for your book. Sites like Facebook , Twitter, and especially LinkedIn can help generate buzz about your work. And don’t underestimate the power of other platforms like Instagram and TikTok when trying to reach younger audiences. Whatever social platform you use, remember to engage with followers by responding to comments and questions about the book.

Organizing Book Signings

A physical event like a book signing not only provides readers with a personal connection but also generates local publicity. Consider partnering up with local independent stores or libraries, which are often open to hosting such events.

Securing Media Coverage

Contacting local newspapers, radio stations or even bloggers and podcasters in your field can provide much-needed visibility for your work. It might seem intimidating at first, but who better than you knows how important this story is?

FAQs on How to Write an Autobiography

How do i start an autobiography about myself.

To kick off your autobiography, jot down significant life events and pick a unique angle that frames your story differently.

What are the 7 steps in writing an autobiography?

The seven steps are: understanding what an autobiography is, planning it out, using engaging writing techniques, structuring it effectively, considering ethics, revising thoroughly, and exploring publishing options.

What are the 3 parts of an autobiography?

An autobiography generally has three parts: introduction (your background), body (major life events), and conclusion (reflections on your journey).

What is the format for writing an autobiography?

The usual format for autobiographies involves chronological or thematic structure with clear chapters marking distinct phases of life.

Writing an autobiography is a journey, a trek exploring the unique narrative of your life. Together, we’ve covered how to plan effectively, select key events, and set timelines.

Once you’re all set to write, you now have the techniques you need for engaging storytelling, including vivid descriptions and dialogues. You also learned about structuring your story for maximum impact and navigating sensitive topics while maintaining honesty.

Last but not least, you learned editing strategies, publishing options, and effective ways of promoting your book.

Now you know more than just how to write an autobiography. You know how to craft a legacy worth reading!

• Last Updated: March 22, 2024

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Autobiography vs Biography: Must-Read Key Differences

• November 17, 2023

Table of Contents:

What is the difference between autobiography and biography.

• 1- Author's Perspective: 

2- Authorship: 

• 3- First-Person vs. Third-Person: "I" or "They"?

4- Level of Subjective Information: 

5- personal emotions and reflections:, 6- control over the narrative: , 7- personal insights: , 8- reliability and objectivity: , 9- writing style: , 10- memories vs. research, faqs: autobiography vs biography, what is an autobiography, what is a biography, what is a major difference between autobiographies and biographies, are there notable examples of autobiographies and biographies in literature, conclusion:.

Autobiography Biography

This article will unravel the ten key differences between an autobiography and a biography.

1- Author’s Perspective: 

When you dive into a life story, whether an autobiography or biography, the first thing to consider is the author’s perspective. 

In an autobiography, it’s like sitting down with the person. They share their experiences, emotions, and personal take on their life’s journey. It’s as if they’re inviting you into their world for a chat. 

On the other hand, a biography is written by someone else, an outsider looking in. It’s like having a skilled artist create a portrait based on available information, akin to the purpose of composition in art. 

Overall, a biography is similar to an autobiography , but the viewpoint in a biography is external, offering a different angle on the subject’s life.

Another key difference between an autobiography and a biography is the authorship of these life stories.

Autobiographies are a bit like a personal diary; the author is the person the book is about. They take up the pen, crafting their narrative in their unique voice.

In biographies, someone else steps into the role of the author. It’s like a skilled biographer, often associated with an eBook writing company , becomes the storyteller. They research and piece together the subject’s life, giving it their distinct narrative style.

3- First-Person vs. Third-Person: “I” or “They”?

The way the story is told is another key difference between autobiography and biography.

In an autobiography, it’s a first-person narrative. The author uses “I” and “me” to recount their experiences. They’re saying, “I did this, I felt that.” It’s a personal touch, much like sharing a personal take on a purpose for composition in art .

In a biography, it’s more of a third-person perspective. The biographer uses pronouns like “he,” “she,” or the subject’s name. It’s akin to saying, “They did this, they felt that.” The subject becomes the character, and you get an external viewpoint on their life.

Now, let’s talk about how much personal touch you’ll find in an autobiography and biography.

Autobiographies often pack in a hefty dose of subjective information. Since the author shares their life story, it’s full of memories, emotions, and interpretations. It’s like reading someone’s diary, where every word carries their unique perspective. 

On the flip side, biographies aim to maintain a balance. They include personal insights filtered through the biographer’s lens, much like how a professional ghostwriter crafts a story.

Autobiographies are like a deep dive into someone’s emotional world. The author shares their joys, sorrows, and reflections on life’s twists and turns. It’s like chatting with a close friend about their experiences. 

In biographies, the focus is broader, and they touch on the subject’s emotions, but it’s not the main event. It’s like hearing someone else talk about their friend’s feelings. It’s a bit more distant, even though it provides an emotional backdrop to the story.

Regarding control, think about it like this: the author is the boss in an autobiography. They have full control over the narrative. They decide what to include and what to leave out. It’s like being the director of their own life story. 

On the other hand, in a biography, the biographer takes the reins. They make the calls on what goes into the story. It’s like a best book writing service managing a project – they have a say in what stays and what goes.

In an autobiography, you get to explore the author’s insights. They’re letting you in on their ‘aha’ moments, deeply understanding their thoughts and emotions. 

The insights come from the biographer’s research and analysis in a biography. It’s like an ‘aha’ moment seen through a third party. While you still get insights, they are shaped by the biographer’s perspective.

It’s a bit like receiving information from an insider versus an outsider. So, whether you prefer the author’s direct take or appreciate a more objective viewpoint, you’ll find it in an autobiography and biography pages.

Regarding reliability and objectivity, autobiographies and biographies have different approaches. Autobiographies can be seen as less objective. Since the author writes their own story, it can carry personal bias and subjectivity. It’s like telling a story from your vantage point. 

In contrast, biographies are usually considered more objective. As an external observer, the biographer aims to present a balanced and accurate portrayal of the subject’s life. It’s like getting a report about someone from a neutral source, similar to how eBook marketers present their findings. The idea of freedom connects the poem to the autobiography by illustrating the nuanced and subjective nature of personal narratives, emphasizing the diverse ways individuals express their experiences and perspectives.

So, if you’re after a story with a unique personal touch, you might lean towards an autobiography. But a biography might be your cup of tea if you’re looking for a more objective, balanced narrative.

Let’s chat about writing style in an autobiography and biography.

Autobiographies often have a more personal, informal tone. It’s like having a conversation with the author. They share their life story in a way that’s as relaxed as chatting with a friend. It’s all about that personal touch, similar to a candid conversation. 

In biographies, the writing style tends to be more structured and formal. It’s as if you’re reading a well-crafted report or an article. The biographer’s voice comes through, giving the story a distinct formality. It’s like listening to a seasoned researcher or a presenter. 

Regarding accessibility to information, there’s a difference between an autobiography and a biography.

Autobiographies have a direct line to the author’s memories and experiences. It’s like having the author’s memory bank at your disposal. They can give you the nitty-gritty details, the hidden gems of their life story. 

In biographies, information comes from research, interviews, and available documents. Biographers work like eBook marketers, analyzing existing data and creating a comprehensive story based on what’s available. 

An autobiography is a self-written account of one’s life, narrated from the author’s perspective.

A biography is a written narrative of someone’s life, usually written by another person.

The major difference lies in authorship. Autobiographies are written by the subject themselves, offering a first-person account of their life. In contrast, biographies are authored by someone else, providing an outsider’s perspective on the subject’s life. Autobiographies convey personal insights, while biographies offer a more objective portrayal.

Yes, examples include “ How The King Of Elfhame Learned To Hate Stories ” by Holly Black (autobiography) and “ How To Read Literature Like A Professor ” by Thomas C. Foster (biography).

Are autobiographies and memoirs the same?

No, memoirs, which are often categorized under the broader umbrella of memoir and autobiography , concentrate on specific facets of a person’s life, offering a more thematic and subjective exploration. In contrast, autobiographies traditionally aim to provide a comprehensive account covering the entirety of the author’s life.

An autobiography and biography offer distinct ways of exploring the lives of remarkable individuals.

Autobiographies provide an intimate look at the author’s personal experiences, while biographies offer a more objective and external perspective. 

Both genres have unique merits, allowing readers to uncover the extraordinary stories shaping our world.

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How to Write an Autobiography Conclusion

Undertaking an autobiography is a decision that can easily intimidate even the most seasoned writers. Writing an autobiography requires an author to reflect on personal experiences and unflinchingly examine the value of his own beliefs. When concluding an autobiographical work, a writer typically strives to tie up loose ends, examine core beliefs and maybe urge readers to take action.

Choose to represent your life in one of two ways, either as unfinished and pliable or as finished and stable. When crafting your autobiography's conclusion, the tone of your writing should loosely parallel your current view of life. For example, if you are embarking on a new career, you may want to represent yourself as open to formative experiences. If you are an established professional, you should express your past accomplishments as foundational experiences on which your credibility rests.

Tie up loose ends. The content of a robust autobiography addresses a multitude of issues and themes. As the author of an autobiography, you introduce your readers to a diversity of people, places and ideas. The closing chapter of your autobiography is an appropriate place to answer questions or resolve lingering issues that are likely to have been raised in the minds of readers.

Evaluate your core beliefs. In the parting words of their autobiographies, writers often attempt to concisely summarize their overarching philosophies and dearest convictions. If you do not feel comfortable enough to directly state your deepest beliefs to readers of your autobiography, you may wish to discuss a thought-provoking quote by an influential thinker.

Distinguish yourself from others. By opting to write an autobiography, you are recognizing that your life is unique. Seize on this point as you conclude your autobiography, clarifying to your readers the distinct worth of your accomplishments or ideology. Acknowledge your weaknesses as well as your strengths.

Urge readers to take action. If a reader has demonstrated enough patience to read your entire autobiography, you can assume your reader is your ally. Some autobiographers use their closing chapters to issue pleas for readers to get involved in a cause.

For example, in the closing pages of her autobiography, "Beyond Innocence: An Autobiography in Letters," Dr. Jane Goodall enthusiastically advocates the worth of the youth-oriented conservation program for which she served as an overseer, Roots & Shoots, citing that it holds the power to make the world "a better place for all life, for all individuals."

Even if you are writing a simple one-page autobiography to attach to a business resume, an effective way to conclude the autobiography may be to persuade the person reviewing your resume to call you to arrange an interview.

• An autobiography can span more than one book if you so desire. Multi-volume autobiographies can be written in a chronological format, or based around themes. In the conclusion of one volume, you can even provide readers with a teaser for an upcoming volume.
• "Beyond Innocence: An Autobiography in Letters: The Later Years;" Jane Goodall, Dale Peterson; 2002 (p. 396)

James Withers has authored in excess of 200 articles on eHow, expanding on journalistic experience acquired as a commentator for the newspaper of the University of Texas at Arlington. Withers began publishing professionally in 2007. Withers holds a Bachelor of Arts in English from the University of Texas at Arlington.

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How to End an Autobiography: Essential Tips

• November 20, 2023

Table of Contents:

Reflect on your journey, highlight key moments, express gratitude, share lessons learned, focus on emotional closure, connect with your beginning, look toward the future, consider your audience, stay true to your voice, end with a thought-provoking conclusion, main attributes and elaborate information, conclusion:.

One of the biggest challenges when ending a book or story is ensuring that your reader doesn’t feel cheated or disappointed in how things unfold.

Writing an autobiography is an incredible feat. Putting your life story down on paper takes a lot of courage, dedication, and introspection—and even more to share with the world.

But one thing makes writing an autobiography so difficult: knowing how to end it. There are so many ways to go about it, and you want your book to end on a note that feels authentic and satisfying for both the reader and yourself.

The Book Writing Founders have some amazing tips for an autobiography ending that will help ensure you’ve left your readers feeling fulfilled and inspired.

Think of your life story as a big adventure book – filled with exciting twists, surprising turns, and heartwarming moments. When you’re getting close to the end of writing your autobiography, it’s like looking at a map of your journey so far.

Take a moment to remember the special places you’ve been, the challenges you’ve faced, and the wonderful people you’ve met along the way.

Sometimes, a good way to start reflecting is by finding a “Writing Prompt Spark.” This could be a question like, “What was the most surprising thing that happened to me?” or “What lesson changed how I see the world?” These prompts can help jog your memory and highlight the most important parts of your story.

Imagine your life as a photo album filled with snapshots of the most memorable moments. These could be moments that made you laugh until your stomach hurt, when you felt incredibly proud of yourself, or when you showed immense courage.

Pick out the key moments from your story – the ones that made a difference – and write about them. These moments are like stars in the sky of your autobiography, shining brightly and guiding your readers through your life’s journey.

Sometimes, folks who offer “Autobiography Writing Services” can help you organize these moments. They’re like helpful guides who can assist in putting all your memories into a beautiful and organized story.

Now, think about all the wonderful people, experiences, and opportunities that have been part of your story. Take a moment to say “thank you” to these special parts of your life. Whether it’s your family who supported you, a teacher who inspired you, or a friend who stood by you, expressing gratitude makes your autobiography even more heartfelt.

These moments of gratitude are like adding colorful flowers to your story, making it even more beautiful and meaningful.

Think of yourself as a wise owl ready to share wisdom. What lessons have you learned throughout your life’s journey? Maybe it’s something about kindness, bravery, or the importance of never giving up.

Sharing these lessons in your autobiography is like passing on a treasure trove of wisdom to your readers. It’s like giving them a map with helpful tips for their adventures.

Your autobiography is like a big storybook filled with all kinds of feelings – happiness, sadness, excitement, and more. It’s important to share these emotions with your readers.

Let them feel what you felt during the big moments of your life. This emotional connection helps give your story a powerful autobiography ending that sticks in their hearts.

Think of narrative writing elements as building blocks for your emotions. These elements, like describing how you felt during certain events or sharing your thoughts, help paint a vivid picture for your readers.

Remember how your autobiography started? It’s like the first note in a beautiful song. Try connecting the autobiography ending with the beginning.

Maybe you learned a lesson at the start that you’ve come back to understand better now. This connection creates a full circle, giving your autobiography a sense of completion and unity.

Imagine holding a telescope and looking into the future. Share your dreams, hopes, and aspirations with your readers. How will the experiences from your book Writing Journey continue to shape your life?

Sharing your plans gives your autobiography a hopeful and forward-looking vibe. It’s like telling your readers that the adventure doesn’t end here – more exciting chapters are yet to come!

Sharing your plans is like setting up a book marketing strategy for the rest of your life. You’re giving your readers a sneak peek into what’s next and inviting them to stay connected to your story beyond the pages of your autobiography.

Think about the people who will read your autobiography. What message do you want to leave them with? Consider their feelings and what impact you want your autobiography ending to have on them.

Maybe it’s leaving them feeling inspired, hopeful, or reflective. Understanding your audience helps you tailor your ending to touch their hearts.

It’s like writing a letter to a friend. You want to say something that resonates with them, something that they’ll remember long after they’ve finished reading.

Considering your audience’s feelings is like writing a special note just for them, making your ending extra meaningful.

Imagine your autobiography as a conversation with a friend. You’ve been chatting with your readers throughout your story, so keep that same friendly tone until the end.

It’s like staying true to your unique way of talking and sharing stories. Your readers have gotten used to your voice, so keeping it consistent makes your autobiography ending feel familiar and comforting.

Also, ensure that even if you hire ghostwriting services to help you write an autobiography, they must stay consistent with your tone. They must be able to instill your way of conveying the ideas and tone into the book.

Think of your autobiography’s ending like the last puzzle piece fitting perfectly into place. Leave your readers with something to think about.

It could be a thought-provoking quote, a powerful statement, or a question that lingers in their minds.

This conclusion is like leaving a little gift for your readers, something that keeps them thinking about your story even after they’ve finished reading.

Sometimes, ending with a thought-provoking question is like planting a seed in your reader’s mind. It stays with them, making them reflect on your story and maybe even apply it to their lives.

Remember, an autobiography ending is not just about concluding the story; it’s about leaving a lasting impression on your readers. Your ending should resonate with them, leaving them feeling inspired, enlightened, or reflective.

Hopefully, these tips will help you craft your ending for the memoir you’re working on.

Sometimes, if writing isn’t your thing, then at such time, you can always get help from Non-Fiction Writing Services providers. These talented people can help put your thoughts and lessons into words, making your autobiography shine brightly.

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How to Write an Autobiography

Writing your autobiography is like exploring a treasure trove of memories that make up your life. But starting can feel overwhelming. Where do you begin? How do you turn your experiences into a compelling story? Don't worry – this guide is here to help. Whether you're a seasoned writer or a total beginner, we'll break down the process of how to write your autobiography into easy-to-follow steps. Together, we'll uncover the magic of storytelling and turn your life into a captivating reflective essay that's uniquely yours. Get ready to start this adventure of self-discovery and creativity!

What Is an Autobiography

The autobiography definition explains it is a written account of a person's life penned by the individual who has lived those experiences. It is a personal narrative that chronicles significant events, reflections, and emotions throughout various stages of the author's life. Unlike a biography, which is typically written by someone else, an autobiography provides a firsthand perspective, allowing the author to share their thoughts, memories, and insights. It is a cogent medium for self-expression, enabling students to convey the essence of their unique journey, impart lessons learned, and leave a lasting record of their lives for themselves and others to explore.

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Autobiography vs. Biography: What’s the Difference

The key distinction between an autobiography and a biography lies in the authorship and perspective. An autobiography is a personal account of one's own life written by the subject themselves. It offers an intimate insight into the author's experiences, emotions, and reflections. For instance, in "The Diary of a Young Girl," Anne Frank provides a poignant autobiographical account of her life hiding from the Nazis during World War II. On the other hand, a biography is a narrative of someone's life written by another person. It often involves extensive research and interviews to present a comprehensive and objective view. A notable example is "Steve Jobs" by Walter Isaacson, a biography offering an in-depth portrayal of the Apple co-founder, drawing on interviews with Jobs himself and those who knew him. While both genres illuminate lives, the crucial difference lies in the source of the narrative – whether it emanates directly from the subject or is crafted by an external observer.

A biography vs autobiography offers distinct perspectives on individuals' lives, shaping narratives through either personal reflections or external observations. Maya Angelou's "I Know Why the Caged Bird Sings" is a powerful autobiography chronicling her tumultuous childhood and journey toward self-discovery. In contrast, a notable biography like "Leonardo da Vinci" by Walter Isaacson delves into the life of the Renaissance polymath, painting a vivid picture through meticulous research and analysis. Autobiographies often provide a deeply personal lens, as seen in "The Glass Castle" by Jeannette Walls, where Walls recounts her unconventional upbringing. In contrast, biographies such as "Unbroken" by Laura Hillenbrand meticulously document the extraordinary life of Louis Zamperini, offering a comprehensive view shaped by the author's investigative work. These examples underscore the unique storytelling approaches each genre employs, either from the firsthand perspective of the subject or the external perspective of an author.

Autobiography Example

Ready to explore autobiography examples? We've got a cool section coming up where we'll check out two awesome examples. Autobiographies are like personal tours into someone's life, and we'll be looking at the stories of Alex Sterling and Trevor Noah. They've poured their experiences onto the pages, and we're going to see what we can learn from their journeys. Get ready to be inspired and maybe even think about telling your own story down the line. Let's dive in!

Example 1: “Wanderer's Odyssey: The Uncharted Life of Alex Sterling”

This autobiography recounts the life of a character born in a bustling city who, driven by a thirst for adventure, leaves behind urban life to explore the open road. The narrative explores the protagonist's experiences of hitchhiking, forming connections, and finding self-discovery in the midst of the unpredictable journey. The story emphasizes the lessons learned from the road, the challenges faced, and the ultimate embrace of authenticity. The epilogue reflects on the character's life as a well-lived odyssey, highlighting themes of resilience, connection, and the pursuit of one's true identity.

Example 2: “Echoes of Eternity: The Memoirs of Amelia Reed”

This autobiography follows a character from a countryside village who harbors expansive dreams of adventure. The narrative unfolds as the protagonist sets out to pursue these dreams, facing trials and triumphs that shape their character and lead to self-discovery. The story emphasizes the transformative power of embracing the unknown, with the epilogue reflecting on a life well-lived, highlighting the legacy of fulfilled dreams and the enduring impact on future generations. In addition to examples, we have samples of narrative essay topics that might be useful for you as well.

Tell your story with EssayPro . Our skilled writers can help you craft an autobiography that truly reflects your journey. Share your unique experiences and life lessons in a way that resonates with readers.

Autobiography Elements Explained

Writing an autobiography provides a personal account of one's experiences, achievements, challenges, and personal growth. While each autobiography is unique, certain common elements are often found in this genre:

Introduction

• Autobiographies typically begin with an introduction where the author sets the stage for their life story.
• It may include background information such as birthplace, family, and early experiences.

Birth and Early Years

• Authors often include details about their birth, childhood, and family background.
• Early influences, relationships, and experiences that shaped the individual may be highlighted.

Significant Life Events

• Autobiographies focus on key events and milestones that have had a significant impact on the author's life.
• This could include achievements, failures, relationships, and other impactful experiences.

Challenges and Obstacles

• Autobiographies explore the challenges and obstacles the author faced throughout their life.
• This can include personal struggles, professional setbacks, or other difficulties.

Personal Growth and Development

• Authors reflect on their personal growth and development over the years.
• This may involve self-discovery, learning from experiences, and evolving perspectives.

Achievements and Milestones

• Autobiographies highlight the author's achievements, whether personal, professional, or both.
• Major milestones and successes are often detailed to showcase the individual's journey.

Influential Relationships

• Autobiographies frequently discuss relationships with family, friends, mentors, and significant others.
• The impact of these relationships on the author's life is explored.

Reflection and Insight

• Authors often reflect on their lives, offering insights into their beliefs, values, and lessons learned.
• This section may also include the author's perspective on the world and society.

Themes and Motifs

• Autobiographies may explore recurring themes or motifs that run throughout the individual's life.
• Common themes include resilience, determination, love, loss, and personal identity.
• Autobiographies typically conclude with a summary or reflection on the author's life.
• The author may share their current perspective and future aspirations.

Writing Style

• The writing style can vary, ranging from a formal tone to a more conversational and reflective approach.
• Authors may use literary devices and storytelling techniques to engage readers.

Remember that autobiographies are highly personal, and the structure and emphasis on different elements can vary widely depending on the author's preferences and purpose for writing.

Autobiographical Essay Structure

Autobiographies typically follow a chronological order, beginning with the author's early life and progressing towards the present or a significant moment. The introduction sets the stage, introducing the author and offering insight into the main themes. As you can see in an autobiography example, the narrative then unfolds, exploring the author's significant life events, challenges faced, and personal growth. Achievements and milestones are highlighted, and the impact of influential relationships is examined. Throughout, recurring themes and motifs add depth to the narrative. In the reflection and insight section, the author shares personal lessons learned and beliefs. The conclusion summarizes the autobiography, reflecting on the author's life and future aspirations.

Learning how to start an autobiography involves captivating the reader's attention while providing context. Authors often employ engaging anecdotes, vivid descriptions, or thought-provoking statements related to the overarching theme of their lives. The goal is to draw readers in from the beginning and establish a connection between the author and the audience. In the introduction, authors can introduce themselves to the reader. This can be done by sharing a captivating snapshot of their life or posing a question that intrigues the audience. The autobiography introduction sets the tone for the entire narrative, providing a glimpse into the themes and events that will be explored in the autobiography.

The autobiography conclusion offers the culmination of the author's life story. Here, authors often summarize the key points and experiences shared throughout the narrative. It is a moment of reflection, where the author can offer insights into the significance of their journey and the lessons learned along the way. The conclusion may also touch on the author's current perspective, providing a sense of closure to the narrative while leaving room for future aspirations and growth.

Literary Forms of Autobiography

Autobiographies, while generally a non-fiction genre, can take on various literary forms and styles. Here are some literary forms commonly found in autobiographical works:

Traditional Autobiography

• The straightforward narrative of an individual's life, which is usually written by the person themselves. It follows a chronological order, covering significant events and experiences.
• Similar to an autobiography but often focusing on specific themes, periods, or aspects of the author's life rather than a comprehensive account. Memoirs often delve into personal reflections and emotions.

Diary or Journal Form

• Some autobiographies adopt the form of a diary or journal, presenting the author's life through dated entries. This format provides a more immediate and personal perspective.

Epistolary Autobiography

• Written in the form of letters, an epistolary autobiography may consist of the author addressing themselves or others. This style adds an intimate and conversational tone to the narrative.

Graphic Novel or Comic Memoir

• Autobiographical stories are presented in a graphic novel or comic format. Visual elements complement the written narrative, providing a unique and engaging way to convey personal experiences.

Experimental or Nonlinear Autobiography

• Some authors choose to play with the chronological order, presenting their life story non-linearly. This experimental approach can create a more artistic and challenging reading experience.

Biographical Fiction

• While not entirely autobiographical, some authors write fictionalized versions of their own lives. It allows for creative exploration and artistic liberties while drawing inspiration from real experiences.

Travelogue Autobiography

• Autobiographies that take on the form of a travelogue often focus on the author's journeys, both physical and metaphorical. The narrative is shaped by the places visited and the impact of these experiences on personal growth.

Essayistic Autobiography

• Autobiographies that incorporate elements of essays, exploring themes, ideas, and reflections on the author's life. This form allows for a more contemplative and philosophical approach.

Collaborative Autobiography

• Co-written autobiographies involve collaboration between the autobiographical subject and a professional writer. It is common when the subject may not be a writer but has a compelling story to share.

These literary forms highlight the versatility of autobiographical writing, showcasing how authors can creatively shape their life stories to engage readers in various ways. Are you working on other academic assignments? Use our term paper writing services to put your finger on any pending task at hand quickly and for a reasonable price.

How to Write an Autobiography in 5 Steps

Writing an autobiography can be a rewarding and reflective process. Here's a simplified guide in 5 steps to help you get started:

Step 1: Reflection and Brainstorming

Begin by reflecting on your life, considering important events, challenges, and moments of growth. Make a mental inventory of key experiences and people who have influenced you.

Step 2: Establish a Focus

Choose a central theme or focus for your autobiography. This could be a specific period of your life, a significant achievement, or a recurring theme that ties your experiences together. Having a clear focus will guide your writing.

Step 3: Create a Chronological Outline

Develop a rough chronological outline of your life story, starting from your early years and progressing through significant events to the present or another crucial point. Identify key moments and experiences to include in each section.

Step 4: Write with Detail and Emotion

An important aspect of writing an autobiography for college is appealing to emotion. As you delve into each body paragraph, share your story with vivid details. Use descriptive language to bring your experiences to life for the reader. Infuse your writing with emotion, allowing readers to connect with the depth of your personal journey.

Step 5: Conclude Reflectively

In the concluding section, summarize the key aspects of your life story. Reflect on the significance of your journey, the lessons you've learned, and how you've grown. Provide insights into your current perspective and aspirations for the future, bringing your autobiography to a thoughtful conclusion.

Writing Techniques to Use in an Autobiography

When you write an autobiography, the process involves employing various techniques to make the narrative engaging, evocative, and compelling. Here are some tips for writing autobiography commonly used in autobiographies:

Descriptive Language

• Use vivid and descriptive language to paint a detailed picture of events, people, and settings. Engage the reader's senses to create a more immersive experience.
• Incorporate dialogue to bring conversations to life. Direct quotes can provide authenticity and convey the personalities of the people involved.

Show, Don't Tell

• Instead of merely stating facts, show the emotions and experiences through actions, reactions, and sensory details. 

Flashbacks and Foreshadowing

• Employ flashbacks to delve into past events and foreshadowing to create anticipation about future developments. 

Metaphors and Similes

• Use metaphors and similes to enhance descriptions and convey complex emotions. Comparisons can make abstract concepts more relatable.
• Integrate symbols and motifs that hold personal significance. This adds depth to the narrative and can be a thematic thread throughout the autobiography.

Humor and Wit

• Infuse your writing with humor and wit when appropriate. 
• Introduce suspense by strategically withholding information or revealing key details at crucial moments. 

First-Person Perspective

• Utilize the first-person point of view to offer a direct and personal connection between the author and the reader. 

Dramatic Irony

• Introduce dramatic irony by revealing information to the reader that the author may not have known at the time.

Parallelism

• Create parallel structures within the narrative, drawing connections between different periods, events, or themes in your life. 

Experimenting with different styles can make your story more engaging and memorable for readers. If you haven’t used these techniques in your paper, simply say, ‘ edit my essay ,’ and our experts will imbue stylistic and creative devices in your document to increase its scholarly value.

Benefits of Writing an Autobiography

Working on an autobiography can be incredibly beneficial on a personal level. When you take the time to reflect on your life and put it into words, you gain a deeper understanding of yourself. It's like a journey of self-discovery where you uncover patterns, values, and beliefs that have shaped who you are. This process not only promotes self-awareness but can also help you grow and bounce back from tough times. Writing about challenging moments can be a therapeutic release, allowing you to confront and make sense of your experiences, leading to emotional healing.

On a broader scale, sharing your life story through an autobiography has its impact. It becomes a piece of history, offering insights into the times you've lived through, the culture around you, and societal changes. Your personal narrative connects you with others, creating empathy and understanding. Autobiographies often inspire people by showing that it's possible to overcome challenges, find purpose, and navigate the ups and downs of life. By sharing your story, you become a part of the larger human experience, contributing to a rich tapestry of diverse stories that help us better understand the shared journey of being human. Order an essay or any other type of task to streamline your educational progress is only a few clicks.

Best Piece of Advice for Making Your Autobiography Spot-on

The most valuable advice is to infuse authenticity into every word. Be genuine, raw, and honest about your experiences, emotions, and growth. Readers connect deeply with authenticity, and it's what makes your story uniquely yours. Don't shy away from expressing vulnerability, as it adds a human touch and makes your narrative relatable. Share the highs and lows, the triumphs and struggles, with sincerity, and let your true self shine through. This honesty not only enhances the impact of your autobiography but also contributes to a more profound connection between you and your readers, creating an authentic and memorable narrative. Here are additional tips for bringing your autobiography assignment up to par:

• Essential Details. Focus on key moments that significantly contribute to your story, avoiding unnecessary details.
• Thematic Cohesion. Introduce and explore recurring themes to add depth and coherence to your narrative.
• Authentic Expression. Embrace your unique voice, personality, and storytelling style to create an authentic connection with readers.
• Dialogue and Monologue. Use genuine dialogue and inner monologue to provide insights into your thoughts and emotions during pivotal moments.
• Symbolic Elements. Incorporate symbolic imagery or metaphors to convey deeper meanings and emotions.
• Strategic Foreshadowing. Use foreshadowing purposefully, providing subtle hints that contribute meaningfully to the overall narrative.
• Reflective Closure. Conclude your autobiography with a reflective summary that offers insights into the broader significance of your journey.

Our essay writers know many more tips regarding all possible types of academic tasks. If you ever find yourself in writer’s block, not knowing how to tackle any particular assignment, let us know!

Final Words

If you want to understand how to write a good autobiography, think of it as painting a vivid picture of your life for others to see. It's about being real, digging deep into your memories, and choosing the moments that really matter. Let your personality shine through in your writing – be yourself because that's what makes your story unique. Weave in themes that tie everything together, and use storytelling techniques like dialogue and symbolism to make your narrative come alive. And as you reach the end, leave your readers with some food for thought – a reflection on the bigger lessons learned from your journey. If you ever need assistance with this or any other college assignment, use our research paper services without hesitation.

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How to start an autobiography essay, what is the difference between autobiography and biography.

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Related Articles

Difference Between Biography and Autobiography (With Table)

Biography and autobiography are two literary genres that revolve around the life stories of individuals. Despite sharing a common subject matter, there are distinct differences between these two forms of literature. While both biography and autobiography aim to tell the life story of an individual, they differ in terms of authorship and perspective. In this article, we will discuss the similarities and differences between biography and autobiography with the help of a table and other key differences.

Table of Contents

Biography Vs Autobiography (Chart)

• Difference Between Fiction and Nonfiction
• Difference Between Race and Ethnicity
• Difference Between Technical and Creative Writing

What is Biography?

A biography is a written account of a person’s life story, written by another person. It is an objective account of the life of an individual, including significant events, accomplishments, and notable contributions. A biographer conducts extensive research to gather information about the individual, including interviews with family members, friends, and colleagues. Biographers often use primary sources such as diaries, letters, and other personal documents to gain a deeper understanding of the subject’s life.

A biography can be written in various formats, including a chronological account of the subject’s life, a thematic approach that focuses on specific aspects of the individual’s life, or a combination of both. Biographies can be written for a wide audience or targeted to a specific demographic. Biographies can also be written in different styles, such as academic or popular, depending on the intended readership.

What is Autobiography?

An autobiography is a written account of a person’s life story, written by the individual themselves. It is a first-person account of one’s life experiences, providing insights into the author’s thoughts, feelings, and personal perspectives. Autobiographies often provide a deeper understanding of the subject’s life, as they offer unique insights into the individual’s thought processes and motivations.

Autobiographies can also be written in various formats, including a chronological account of the author’s life, a thematic approach that focuses on specific events or experiences, or a combination of both. Like biographies, autobiographies can be written for a wide audience or targeted to a specific demographic.

Key Differences Between Biography and Autobiography

While comparing biography and autobiography, here we have included some of the key differences between them. They are as follows.

• Authorship: The most significant difference between biography and autobiography is authorship. A biography is written by another person, while an autobiography is written by the individual themselves. Biographies are therefore objective accounts of the subject’s life, while autobiographies are subjective accounts of the author’s experiences.
• Perspective: Biographies offer an outsider’s perspective on the subject’s life, while autobiographies offer a first-person perspective. Autobiographies provide unique insights into the author’s thoughts, feelings, and personal experiences. On the other hand, biographies rely on interviews and primary sources to gain a deeper understanding of the subject’s life.
• Purpose: Biographies are often written to provide an objective account of an individual’s life. On the other hand, autobiographies are often written to offer a personal perspective on the author’s life experiences. Biographies can also be written to provide insights into historical events or cultural movements. In contrast, autobiographies are often written for therapeutic or personal reasons.

The following comparison table also shows the difference between biography and autobiography in a brief manner.

3 Similarities between Biography and Autobiography

• Both genres aim to tell the life story of an individual. Whether written by an author or the individual themselves, both biographies and autobiographies aim to provide a comprehensive account of the subject’s life experiences.
• Both genres rely on extensive research to gather information about the subject’s life. Biographers conduct interviews and use primary sources to gain a deeper understanding of the individual’s life, while autobiographers draw on their personal experiences and memories to create a first-person account.
• And finally, both genres can be written in various formats, including a chronological account of the subject’s life or a thematic approach that focuses on specific events or experiences.

In conclusion, biography and autobiography are two distinct genres that share a common subject matter. whether you prefer reading about the lives of others or writing about your own experiences, both biography, and autobiography offer rich and engaging narratives that can inspire, educate, and entertain readers for generations to come.

Basir Saboor

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In This Article Expand or collapse the "in this article" section Biography and Autobiography

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Biography and Autobiography by Margaretta Jolly LAST REVIEWED: 26 July 2017 LAST MODIFIED: 26 July 2017 DOI: 10.1093/obo/9780199846719-0006

The history of life writing reflects the history of selfhood itself, particularly as it has tracked the rise of individualism and, arguably, individuality. Biography, the interpretation of another’s life, is an ancient form with roots in religious and royal accounts and can be found in all civilizations, although its didactic and moral emphasis has slowly faded in favor of debunking approaches. Autobiography is generally argued to arise in modernizing societies where the individual’s perspective gains cultural value, and has been linked to deep questions of self-awareness, self-division, and self-performance. The romantic period crystallized this relationship as well as linked life writing to a new cult of the author. In the context of late modern culture, life narrative has become still more autobiographical than biographical, an everyday practice of confession and self-styling. However, biography and autobiography are not always distinct. Memoir can focus on another or oneself and has become the preferred term for literary autobiography in the early 21st century, arguably because current tastes are for stories of intimate relationship in which elements of biography and autobiography come together. Critics have therefore become interested in the inevitable dependency of one’s own story on another’s, a subject of ethical trouble but aesthetic, intellectual, and political fascination. Such “auto/biographies” express a range of relationships, from the ghostwriter’s service to a public figure’s memoir, to the ethnographer’s or doctor’s view of a person as case history. More often, family relations are the grounds on which the complexities of representational contracts are played out. This negotiation relates to a second defining aspect of life narrative: the reader’s expectation that it be true. “Memory is a great artist,” claimed a great autobiographical experimenter, André Malraux, and an enduring critical question has been whether life writing can be both artful and historically accurate. Increasingly, however, scholars broaden from such aesthetic debates to consider the social, political, and psychological work of life narrative. Readers will therefore find that this article pushes out from the literary to encompass a capacious field of inquiry that includes social scientists interested in narrative or biographical methods, and interdisciplinary studies of personal storytelling in the contexts of human rights activism or, conversely, of the late capitalist trade in celebrity or exotic lives and digital cultures of self-publication. For literary critics, therefore, biography and autobiography are now generally appreciated as two genres within a bigger field of life writing, life narrative, or life story about self-other relations, although they remain touchstones for those interested in how life experience can be aestheticized.

Life narrative is found in all places and historical periods and encompasses many aspects of everyday speech as well as writing. It is therefore difficult to produce a definitive criticism, and the texts listed here divide between those with a more literary and a more sociological focus. From a literary or cultural-studies perspective, Smith and Watson 2010 provides the most condensed overview and builds on an important body of joint work by these North American scholars, particularly on the global, postcolonial, and feminist face of much life writing. Jolly 2001 remains the most internationally comprehensive guide, with analytical surveys and bibliographies of life narrative in all major continents and countries, from classical periods to the early 21st century. Broughton 2006 , an anthology that provides a selection of key critical interventions, also features an excellent introduction in which the author interprets the shifting critical emphasis from the life to the self. Marcus 1994 , written by another British critic, offers a more extended tracing of this “discourse” about auto/biography. The author’s brilliant thesis is that the genre has been the ground for fantasies about self-alienation in modernity and, conversely, for redemptive healing of its splits. Plummer 2001 approaches life stories from this redemptive point of view, as a sociologist in what the author defines as a radical humanist tradition, and also a gay man who has studied as well as lived the coming-out story. Harrison 2009 , also written by a sociologist, is an edited collection that points out the growth in narrative and biographical research methods for social scientists. Life narrative is inherently suitable for teaching both as method and topic with unique pulling power and accessibility. Fuchs and Howes 2008 , another edited collection of essays, is extremely useful for any would-be teachers, offering case studies, lesson plans, and syllabi, including from South Africa and Chad. Chansky and Hipchen 2016 offers carefully edited and organized selected essays tracing key debates in a one-stop volume that marks the multidisciplinary, multimediated direction of the field. Finally, the International Auto/Biography Association (IABA), launched in 1999 at Peking University by Zhao Baisheng, hosts a global network of scholars through biannual conferences around the world, a listserv managed by the Center for Biographical Research at the University of Hawai‘i, and a website hosted by Julie Rak at the University of Alberta. Zhao also edits a Chinese-language list of short biographies and has written a short book arguing that auto/biography is a field of literature that deserves to be an object of study in its own right. Limited bibliographic details for this show that, as of yet, such initiatives and English-language-based scholarship are not sufficiently integrated.

Broughton, Trev Lynn ed. Autobiography: Critical Concepts in Literary and Cultural Studies . 4 vols. London: Routledge, 2006.

Four-volume anthology of important critical texts from the 18th century onward, with an incisive introduction. Organized in eight parts within four volumes: Part 1, “Founding Statements”; Part 2, “Beyond Truth versus Fiction”; Part 3, “Discovering Difference”; Part 4, “Personal Stories, Hidden Histories”; Part 5, “Psychology, Psychoanalysis, and the Narrability of Lives”; Part 6, “Autobiography as Critique”; Part 7, “Personal Texts as Autobiography”; and Part 8, “Cultures of Life Writing.”

Chansky, Ricia Anne, and Emily Hipchen, eds. The Routledge Auto|Biography Studies Reader . Routledge Literature Readers. London and New York: Routledge, 2016.

One-volume anthology principally selected from the archives of the a/b: Auto/Biography Studies journal. Organized by school of thought, from debates about genre/canon to those of political identity and representation to early-21st-century concerns with medical humanities, postmemory, animalographies, graphic narrative, celebrity lives, and digital biography.

Fuchs, Miriam, and Craig Howes, eds. Teaching Life Writing Texts . New York: Modern Language Association of America, 2008.

Commissioned by the Modern Language Association of America’s prestigious teaching text series; signifies the academic integration of life-writing studies. Containing over forty-four short articles on teaching specific texts or genres, some with lesson plans, this work is a practical and inspiring teaching resource. Internationally focused.

Harrison, Barbara, ed. Life Story Research . 4 vols. London: SAGE, 2009.

Four volumes on methodological approaches within the social sciences in which research foregrounds the individual. Useful for related fields (nursing, criminology, cultural studies). Organized as five parts within four volumes: Part 1, “Historical Origins and Trajectories”; Part 2, “Theoretical and Conceptual Issues in Life Story Research”; Part 3, “Types of Life Story Research: Traditional and New Sources of Life Story Data”; Part 4, “Doing Life Story Research”; and Part 5, “Research Contexts and Life Stories.”

International Auto/Biography Association .

Founded in 1999 as a multidisciplinary network of auto/biographers, scholars, and readers to pursue global dialogues on life writing. IABA’s first conference took place at Peking University; it has met biannually since then in China, Canada, Australia, Hong Kong, Germany, Hawaii, England, Cyprus, and Brazil.

Jolly, Margaretta, ed. The Encyclopedia of Life Writing: Autobiographical and Biographical Forms . 2 vols. London: Fitzroy Dearborn, 2001.

First and still only encyclopedia in English on life writing and life narrative. Two large volumes include entries on important writers, genres, and subgenres. Entries encompass, for example, confession, obituary, and gossip; portraits; surveys of national and regional traditions from all continents and periods; and themes such as shame, adolescence, time, and self.

Marcus, Laura. Auto/Biographical Discourses: Theory, Criticism, Practice . Manchester, UK: Manchester University Press, 1994.

Brilliant intellectual and literary history of the ways that life writing from the 18th century to the 1990s has been conceptualized by writers, critics, philosophers, and journalists. Marcus rejects the idea that there is a stable genre of autobiography, but she proposes that there is, instead, a distinct genre of autobiographical criticism.

Plummer, Kenneth. Documents of Life 2: An Invitation to a Critical Humanism . 2d ed. London: SAGE, 2001.

DOI: 10.4135/9781849208888

A highly readable guide to life writing and life story as objects and methods of analysis from a sociological but also literary perspective, with a particularly useful section on interviewing. This edition substantially revises and improves Plummer’s original publication in 1983 while continuing to argue that radical humanism is life writing’s appropriate philosophical framework.

Smith, Sidonie, and Julia Watson. Reading Autobiography: A Guide for Interpreting Life Narratives . 2d ed. Minneapolis: University of Minnesota Press, 2010.

Authoritative, accessible guide to the cultural study of life narrative across genre, period, and place, with good attention to non-Western texts. Includes chapters on early-21st-century life narrative and visual-verbal-virtual forms, as well as a “tool kit” consisting of twenty-four strategies for reading life narratives, classroom projects, and a list of Internet resources.

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Know the Differences & Comparisons

Difference between Biography and Autobiography

Both of these two presents the view of, what happened in the past where the author lived. These are non-fiction books, written in chronological order, tells a story about the person who made a significant contribution in a specific field. Many think that the two writing forms are one and the same thing, but there are noticeable difference between the two, that are presented in the given article.

Content: Biography Vs Autobiography

Comparison chart, definition of biography.

A biography also referred as ‘bio’ is a detailed account of a person’s life written or produced by another person. It gives an elaborate information regarding the birthplace, educational background, work, relationships and demise of the person concerned. It presents the subject’s intimate details about life, focusing on the highs and lows and analysing their whole personality.

A biography is usually in the written form but can also be made in other forms of a music composition or literature to film interpretation.

It is the recreation of the life of an individual composed of words by another person. The author collects every single detail about the subject and presents those facts in the biography, which are relevant and interesting, to engross the readers in the story.

Definition of Autobiography

An autobiography is the life sketch of a person written by that person himself or herself. The word auto means ‘self.’ Therefore, autobiography contains all the elements of a biography but composed or narrated by the author himself. He/She may write on their own or may hire ghostwriters to write for them.

An autobiography presents the narrator’s character sketch, the place where he is born and brought up, his education, work, life experiences, challenges, and achievements. This may include events and stories of his childhood, teenage, and adulthood.

Key Differences Between Biography and Autobiography

The difference between biography and autobiography are discussed in detail in the following points:

• Biography is a detailed account of a person’s life written by someone else, while an autobiography is written by the subject themselves.
• Biography can be written with (authorised) or without permission (unauthorised) from the person/heir’s concerned. Therefore, there are chances of factual mistakes in the information. On the other hand, autobiographies are self-written and therefore doesn’t require any authorization.
• Biographies contain information that is collected over a period of time from different sources and thus, it projects a different outlook to the readers. On the other hand, autobiographies are written by the subject themselves, therefore, the writer presents the facts and his thinking in his own way, thus providing an overall narrow and biased perspective to the readers.
• In an Autobiography, the author uses the first narrative like I, me, we, he, she, etc. This, in turn, makes an intimate connection between the author and the reader since the reader experience various aspects as if he/she is in that time period. As opposed a biography is from a third person’s view and is much less intimate.
• The purpose of writing a biography is to introduce and inform the readers about the person and his life whereas an autobiography is written in order to express, the life experiences and achievements of the narrator.

Video: Biography Vs Autobiography

There are several autobiographies which are worth mentioning like ‘The Story of My Life’ by Helen Keller, ‘An Autobiography’ by Jawaharlal Nehru, ‘The Diary of a Young Girl’ by Anne Frank, ‘Memoirs of the Second World War’ by Winston Churchill, ‘Wings of Fire’ by A. P. J. Abdul Kalam and much more.

Examples of some famous biographies are- Tolstoy: A Russian Life by Rosamund Bartlett, His Excellency: George Washington by Joseph J. Ellis, Einstein: The Life and Times by Ronald William Clark, Biography of Walt Disney: The Inspirational Life Story of Walt Disney – The Man Behind “Disneyland” by Steve Walters, Princess Diana- A Biography Of The Princess Of Wales by Drew L. Crichton.

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Article contents

Life writing.

• Craig Howes Craig Howes Department of English and Center for Biographical Research, University of Hawai'i at Mānoa
• https://doi.org/10.1093/acrefore/9780190201098.013.1146
• Published online: 27 October 2020

Since 1990, “life writing” has become a frequently used covering term for the familiar genres of biography, autobiography, memoir, diaries, letters, and many other forms of life narrative. Initially adopted as a critical intervention informed by post-structuralist, postmodernist, postcolonial, and especially feminist theory of the 1970s and 1980s, the term also refers to the study of life representation beyond the traditional literary and historical focus on verbal texts, encompassing not only other media—film, graphic narratives, online technologies, performance—but also research in other disciplines—psychology, anthropology, ethnic and Indigenous studies, political science, sociology, education, medicine, and any other field that records, observes, or evaluates lives.

While many critics and theorists still place their work within the realms of autobiography or biography, and others find life writing as a discipline either too ideologically driven, or still too confining conceptually, there is no question that life representation, primarily through narrative, is an important consideration for scholars engaged in virtually any field dealing with the nature and actions of human beings, or anything that lives.

• autobiography
• autofiction
• life narrative

As Julie Rak noted in 2018 , Marlene Kadar’s essay “Coming to Terms: Life Writing—from Genre to Critical Practice,” although written in 1992 , still offers a useful account of life writing’s history as a term, and is still a timely reminder to examine constantly the often-buried theoretical assumptions defining and confining it. After noting that because “life writing” was in use before “biography” or “autobiography,” it “has always been the more inclusive term,” Kadar supplies a taxonomy in the form of a progressive history. Until the 1970s, “life writing” referred to “a particular branch of textual criticism” that subjected some biographies and autobiographies, and a scattering of letters and diaries, to the same literary-critical scrutiny commonly focused upon poetry, drama, or fiction. Kadar cites Donald J. Winslow’s Life-Writing as a locus for this understanding. 1 The problem lurking here is what Kadar elsewhere refers to as “the New Critical wolf”: theoretical assumptions that are “androcentric” and privilege notions of “objective truth and narrative regularity.” Clearly wanting to label this as residual, she turns to the then-current “more broadened version” of life writing. Its champions are primarily, though not exclusively, feminist literary critics devoted to “the proliferation, authorization, and recuperation” of autobiographical texts written by “literary,” but also “ordinary,” men and women. While the “ordinary” allows “personal narratives, oral narratives and life testimonies” and even “anthropological life histories” to enter the realm of life writing, this now-dominant understanding is nevertheless problematic, because it still tends to uncritically draw such binary distinctions as fiction/autobiography, literary/non-literary non-fiction, and even male/female. Heavily influenced by postmoderism, Kadar proposes a third, emergent vision of life writing that moves beyond a desire for fixity and canonization—“with laws and law-making”—by embracing a dynamic, constantly questioning methodology: “From Genre to Critical Practice.” 2

This approach gestures toward a focus upon intersectionality in “unofficial” writing—Kadar’s example is Frederick Douglass—and toward an expansive yet politically engaged life-writing practice that can “appreciate the canon, revise it where it sees fit, and forget it where it also sees fit.” 3 The same approach should be adopted toward such terms as “the autobiographical” or “life writing itself.” After describing life writing “as a continuum that spreads unevenly and in combined forms from the so-called least fictive narration to the most fictive,” she offers her own “working definition.” Life-writing texts “are written by an author who does not continuously write about someone else”—note how biography has at best been relegated to the fringes of the realm—and “who also does not pretend to be absent from the [black, brown, or white] text himself/herself.” Neither an archive nor a taxonomy of texts, life writing employs “an imperfect and always evolving hermeneutic,” where “classical, traditional, or postmodern” approaches coexist, rather than always being set against each other. 4

Kadar’s early-1990s assessment and prophecy will serve here as loose organizational principles for describing how the move “from Genre to Critical Practice” in the ensuing years has proved to be an astonishing, though contested, unfolding of life writing as a term encompassing more initiatives by diverse communities in many locations and media that even the far-sighted Marlene Kadar could have anticipated. Even so, her insistence that life-writing critics and theorists must continue to “resist and reverse the literary and political consequences” produced by impulses toward “ʻdepersonalization’ and unrelenting ʻabstraction’” still stands. 5

From Biography to Autobiography to Life Writing

Kadar’s support for life writing as the umbrella term came in the wake of an energetic focus on autobiography as the most critically and theoretically stimulating life-narrative genre. The academic journal Biography had begun appearing in 1978 , but for all its claims to be An Interdisciplinary Quarterly , it was assumed to be largely devoted to traditional biography criticism and theory. In 1980 , James Olney noted the “shift of attention from bios to autos —from the life to the self,” which he credited with “opening things up and turning them in a philosophical, psychological and literary direction.” 6 Biography scholars would have begged to differ. Discussions of psychology, with an emphasis on psychoanalysis, and of the aesthetics of literary biography, with special attention paid to affinities with the novel, had been part of biography’s critical and theoretical environment for a century. 7 Olney however was not just arguing for autobiography’s legitimacy, but for the primacy of autos within literature itself—a key claim of his landmark monograph Metaphors of Self . 8 Olney was a convener as well as a critic and theorist. Ricia Chansky identifies the “International Symposium on Autobiography and Autobiography Studies” Olney held in 1985 as “the moment when contemporary auto/biography studies emerged as a formal discipline within the academy”—not least because it led to the creation of a newsletter that soon became the journal a/b: Auto/Biography Studies . Although the slashes in the title—credited to Timothy Dow Adams—suggested that a/b would not privilege “self-life writing over life writing,” the variety and sheer number of critical and theoretical works devoted to autobiography in the ensuing years made it clear that for many, it was the more interesting genre. 9

Institutionalization and professional assertion soon followed. Sidonie Smith recalls “those heady days” of creating archives and bibliographies, but also of “writing against the grain, writing counterhistories, writing beyond conventional plots and tropes.” 10 As Olney had predicted, autobiography became a flash point for critical and theoretical writing in women’s studies—a trend heavily influencing Kadar’s thoughts on life writing, and canonized in Sidonie Smith and Julia Watson’s Women, Autobiography, Theory: A Reader , whose introduction is still the most detailed account of how women critics and theorists from the 1970s to the late 1990s drew upon the most compelling feminist, post-structuralist, cultural, and political writing in their encounters with autobiographical texts. 11

This interest in autobiography—with or without the slash—produced an entire generation of influential writers. Because of their general eminence, Paul de Man’s and Roland Barthes’s comments on and experiments with autobiography were closely examined, but other theorists made autobiography their central attention. 12 Philippe Lejeune’s profoundly influential essay “The Autobiographical Pact” complemented Olney’s book on metaphors of self, and so did Paul John Eakin’s volumes Fictions of Autobiography and Touching the World as arguments for the genre’s legitimacy within literary studies. 13 A host of important books, collections, and anthologies soon followed, many with a strongly feminist approach. Sidonie Smith’s A Poetics of Women’s Autobiography was an important intervention into literary aesthetics, and Smith and Watson’s edited collection De/Colonizing the Subject forged important links between autobiography and feminist and postcolonial theory. 14 Many other feminist critics and theorists in Europe and North America in the 1970s, 1980s, and 1990s directed their attention as writers and editors to autobiography, among them collection editors Shari Benstock and Bella Brodsky and Celeste Schenk; monograph writers Elizabeth Bruss, Leigh Gilmore, Caroline Heilbrun, Françoise Lionnet, Nancy K. Miller, and Liz Stanley; and essayists Susan Stanford Friedman and Mary G. Mason. Following in the tradition of Virginia Woolf’s A Room of One’s Own , other feminist literary and cultural historians sought out forgotten or yet-to-be-discovered women autobiographers—Patricia Meyer Spacks for the 18th century ; Mary Jean Corbett, Regenia Gagnier, Linda H. Peterson, and Valerie Sanders for the long 19th century ; Estelle C. Jelinek from the time of antiquity; and collection editor Domna C. Stanton from the medieval period to the 20th century . 15

Often viewed through the lens of literary and cultural theory, autobiography therefore became the most-discussed life-writing genre in the 1980s, and has largely remained so ever since. But from the time of Kadar’s Essays on Life Writing , the term “life writing” became increasingly employed as the umbrella term for representing the lives of others, or of one’s self. The key intervention here was Margaretta Jolly’s landmark two-volume Encyclopedia of Life Writing . Published in 2001 , the title term encompasses Autobiographical and Biographical Forms , and through her contributors, Jolly accounts in 1,090 large double-column pages not just for the genres that could be considered life writing, but for life-writing practices in a host of world regions and historical periods. She emphasizes her subject’s interdisciplinary nature. Although the “writing of lives is an ancient and ubiquitous practice,” and the term “life writing” can in England be traced back to the late 17th or early 18th century , it has only gained “wide academic acceptance since the 1980s.” While noting that “the study of autobiography is the most-long-standing and sophisticated branch of analysis in the field”—a claim that biography scholars would dispute, at least with regard to duration—Jolly grants Kadar’s wish to expand beyond the literary by including entries grounded in “anthropology, sociology, psychology, history, theology, cultural studies, and even the biological sciences,” and in forms of life narrative “outside of the written form, including testimony, artifacts, reminiscence, personal narrative, visual arts, photography, film, oral history, and so forth.” 16

The Encyclopedia also provides “international and historical perspective through accounts of life writing traditions and trends from around the world, from Classical times to the present,” and covers “popular and everyday genres and contexts—from celebrity and royal biography to working-class autobiography, letter writing, interviews, and gossip”—a continuation of work, epitomized by Smith and Watson’s Getting a Life , that pays close attention to how “ordinary” lives are produced in a variety of public and institutional settings. 17 Like Kadar, Jolly notes the “crucial influence” of “Women’s Studies, Cultural Studies, African-American, and Post-Colonial Studies” upon autobiography studies’ emergence in the 1980s, and she also observes that many contributors use the term “auto/biography” to point toward a more capacious sense of the field. But also like Kadar, in an “effort to balance the emphasis on autobiography,” Jolly chooses “life writing” as her preferred term, because it can more easily accommodate “many aspects of this wide-ranging field, not to mention regions of the world, where life-writing scholarship remains in its infancy, or has yet to emerge.” 18 This ambitious and expansive reference work anticipates most of the ensuing developments in life writing.

In the same year appeared the first edition of Smith and Watson’s Reading Autobiography . Although retaining autobiography as the covering term—describing it as “a particular generic practice” that “became definitive for life writing in the West”—they share Jolly’s commitment to generic, historic, and geographical inclusivity, and take a highly detailed approach to clarifying terminology. 19 Echoing Kadar, they note that autobiography “has been vigorously challenged in the wake of postmodern and postcolonial critiques of the Enlightenment subject”—an entity whose “politics is one of exclusion.” In response, they grant that “life writing” is a more expansive term, because it can refer to “writing that takes a life, one’s own or another’s, as its subject,” whether “biographical, novelistic, historical, or explicitly self-referential.” But, always sensitive to new developments and dimensions, Smith and Watson suggest that “life narrative” is even more capacious, because it refers to “autobiographical [and presumably biographical] acts of any sort.” 20 With the added perspective of nine years, and then eighteen years for their second edition, Smith and Watson update Kadar’s 1992 account of the profound impact that feminist, postmodernist, and postcolonial theory have had upon life writing—although they still direct readers to their own Women, Autobiography, Theory for a more detailed “overview of representative theories and work up to the late 1990s.” 21 Their main point is that the theoretical work Kadar called for has been taking place: “the challenges posed by postmodernism’s deconstruction of any solid ground of selfhood and truth outside of discourse,” when coupled with “postcolonial theory’s troubling of established hierarchies of authority, tradition, and influence,” led life-writing critics and theorists to examine “generic instability, regimes of truth telling, referentiality, relationality, and embodiment,” which not only undermined “the earlier critical period’s understanding of canonical autobiography” but also “expanded the range of life writing and the kinds of stories critics may engage in rethinking the field of life narrative.” 22

An efficient two-page synopsis identifies the specific theoretical stimuli for this critical scrutiny. Lacanian psychoanalysis undercut the notion of the autonomous self, replacing it with a “split subject always constituted in language.” Derridean différance offers the insight that in life writing, as in all writing, “meaning is always in process, continuously put off, or deferred.” With Jean François Lyotard, Jacques Derrida also deconstructs the supposed boundaries between Truth and fiction, actually set by supposed “ʻmaster’” narratives. Louis Althusser’s linking of socioeconomic relations to subjectivity offers life-writing scholars interpolation as a concept for understanding life-narrative construction. Michel Foucault’s claim that discourse is an exercise of power tied to the construction of identity is also formative, and so is Bakhtinian heteroglossia as the counter to the fantasy of the unitary “I.” Feminist theory directs life-writing scholars’ attention to the relationship between the political and the personal, to the “cultural inscription and practices of embodiment,” and to the dangers inherent in universalized notions of “woman.” Frantz Fanon’s work on the colonial gaze foregrounds domination’s and subordination’s roles in the constitution of subjectivity, which postcolonial, ethnic, and feminist theorists all see as crucial for recognizing the minoritizing of subjectivity, and then decolonizing such constructions. Gay and queer studies reveal the performative nature of subjectivity, and undermine binary models of gender and sexuality. Cultural studies’ interest in “popular, public, and everyday forms of textuality, including everyday practices of self-narrating in verbal, visual, and mixed modes,” extends the range of life narratives that can be examined, and neurological studies offer insight into the brain’s material effects on memory, and into trauma’s impact on perceived identity. 23

In “Expanding Autobiography Studies,” the final chapter of their two-part critical history of the field, Smith and Watson list the important critical and theoretical initiatives of previous decades. Performativity, positionality, and relationality are presented as “Useful Theoretical Concepts.” Judith Butler’s Gender Trouble and Bodies that Matter and Smith’s own Subjectivity, Identity, and the Body are cited as formative texts for recognizing that the self customarily thought of as “prior to the autobiographical expression or reflection is an effect of autobiographical storytelling.” 24 Paul John Eakin and Nancy K. Miller are credited with expanding the applicability of relationality beyond feminist theory and women’s autobiography and arriving at a virtually universal applicability for life writing. 25 The most important concept for contemporary life writing, however, is arguably positionality, because it helps critics and theorists evaluate how “culturally salient” subject positions, “always multiple and often contradictory,” find ways to tell their stories “at a particular historical moment.” Formed “at the intersections of multiple discursive trajectories,” certain life narratives insist on the significance of subjects who are dealing with “de/colonization, immigration, displacement, and exile.” Such narratives demand the critical use of such terms as “ hybrid, border, diasporic, mestiza, nomadic, migratory, minoritized ”; they also force theorists to consider the natures and purposes of Indigenous life writing. 26

Despite this emphasis on life writing as referential, registering changes in practice still tends to involve identifying and tracking what Smith and Watson call “Emergent Genres of Life Narrative.” 27 Their second edition ( 2010 ) foregrounds trauma narratives, disability life writing, and human rights narratives and testimonio ; life writing appearing from a much wider range of locations, organized under the title “Critical Geographies”; narratives that foreground developments in neuroscience, memory, and genetics; the myriad of life representations arising out of the turbulent realm of “Digitalized Forms and Identities”; the templates or familiar genres deployed for recording “Everyday Lives”; and, more generally, autocritical scholarship, which requires critics or theorists to position themselves in relation to the narratives they choose to record or study and, in some cases, to recognize the necessity of being a part or a member of the group or population whose life stories are at issue.

Smith and Watson end their anatomy and history of autobiography by noting that the many “contesting approaches” to life writing are also adding many formerly “marginal” forms to “the canon of autobiography.” In the 2010 edition, Appendix A offers definitions for “Sixty Genres of Life Narrative,” up from the fifty-two provided in the first edition. But Smith and Watson “conclude” that increases in the number of relevant texts and presenting media will lead to major shifts in critical and theoretical debates, even though at bottom, a life narrative is always “a rhetorical act embedded in the history of specific communities.” 28

Backlash, Boomlash, and Boom Echo

Raymond Williams and Marlene Kadar would both acknowledge that treating ideologies or forms of life writing as residual, dominant, or emergent, and therefore capable of being mapped onto a historical or progressive continuum, can neither assume the disappearance of earlier stages, nor prevent resurgences and unpredictable alliances. 29 Take for example the history of critical debates since the late 20th century about the relationship between biography and life writing. The focus on autobiography as the central concern for critics has often been explicit: Marlene Kadar’s 1992 provisional definition of life writing ruled out authors who “continuously write about someone else.” 30 In response, many biographers and some theorists have insisted on biography’s continuing significance, and even centrality. Everyone involved tends to agree that biography was once dominant, but is now either residual, or treated as such. But in the 21st century highly unlikely allies have been calling for a “Biographical Turn,” which for some means re-evaluating what it means to tell another’s life in different historical and cultural contexts, and for others actually means a “Return” to pre-eminence—emergent and residual, yet united in asserting biography’s value. 31

Insisting that biography’s strongest affinities lie with history, and not literature or cultural studies, Hans Renders has arguably been the most visible defender of biography against the onslaught of life writing, which he considers a “shift” into an “ideology” emerging from “comparative literature and gender and cultural studies.” According to Renders, life-writing critics and theorists present autobiographers, and sometimes themselves, as “victimized by social context” and therefore, in Michael Holroyd’s words, seeking “retrospective justice.” 32 The biographer or biography theorist respects the “scholarly imperative to analyze the world (including the past) as objectively as possible”—not “to correct injustice,” but to “understand it better.” Conversely, those who study life writing seem preoccupied with “battered and raped women,” “Mothering Narratives,” “ʻJewish Women and Comics,’” “homosexuals,” and self-proclaimed victims of “climate change” or “racism, and social exclusion.” 33 The emphasis on gender here can be read as a response to the profound impact of feminist theory on autobiography and life-writing studies, and the gestures to race and class as resistance to the tenor of emergent life-narrative scholarship.

What must also be accounted for is the sustained production of biography by trade and university publishers. Throughout the memoir boom that so many theorists, critics, and reviewers have declared, highly conventional single-volume biographies have appeared regularly, speaking to the continued public interest in what Hans Renders calls “the biographical tradition, based on individuals like Hitler or Einstein, but also less famous persons.” 34 The indisputable success of The Biographer’s Craft newsletter ( 2008 –) and the creation of the Biographers International Organization (BIO; 2010 –), with its hugely popular annual conferences, counter biography’s residual status in much life-writing criticism and theory with its continued prominence in the public sphere. And arguably, most BIO members prefer it that way. Like many poets, playwrights, and novelists, biographers are often wary of critics and theorists of literature, preferring at their conferences to discuss publishing possibilities, or to receive advice on research and writing, rather than engage in theoretical or critical analysis of biography as a genre. 35

But of course, life-writing scholars are also interested in production, with Julie Rak as the most prominent cultural historian and theorist who insists that publication and distribution are salient, and even essential, subjects of study. Although primarily concerned with autobiography, her 2013 book Boom! Manufacturing Memoir for the Popular Market focuses on books “written, published, sold in bookstores and circulated by public libraries for people like my grandmother.” Rak presents non-fiction “as part of a production cycle” of “commodities that are manufactured for a market by an industry,” paying close attention to the mechanics of publication, distribution, classification for purposes of sales, and advertising for books “produced by mainstream presses for large audiences”—a critical interest that she paved the way for by editing a special issue on popular auto/biography for the Canadian Review of American Studies . 36 The affordances and filters that particular models of production impose upon life narratives are technological correlatives to the ideologically informed reception that certain kinds of life writing and testimony encounter when they venture into the world. Most notably, in Tainted Witness , Leigh Gilmore evaluates how women’s life narratives arouse powerful, at times hysterical, and even violent constraints upon what they are allowed to say about life conditions, or about the actions of others—and especially powerful men. 37 Though genres and chosen media may range from published memoirs or testimonio , to congressional hearings, to court trials, to social media venues and campaigns, the dynamics are the same. Women’s life-writing narratives threaten to disrupt or damage a man’s supposed life script by adding to it details of abuse, or cruelty, or criminality. It would be hard to imagine a more vivid example of what Hans Renders objects to in life writing, but the social and political significance of such narratives also explains why they could never easily be relegated to a marginal subgenre of biography. In fact, the power dynamics in Renders’s paradigm between male-centered “objective” biography and female-produced “victim” life writing mirror those in the scenarios that Gilmore evaluates.

The rest of this article maps out the most notable developments in life-narrative scholarship since the late 20th century , drawing principally on the “Annual Bibliography of Works about Life Writing,” an annotated list of books, edited collections and special issues, individual articles, and dissertations that appears in Biography : An Interdisciplinary Quarterly . The sample contains roughly 21,000 entries; the discussion here will concentrate on books, edited collections, and special issues because they represent formidable and sustained studies of some aspect of the field, or point to a community of scholars engaged in similar work. While essentially tracing out Kadar’s three-stage progressive account of life writing, this article will also provide examples of critical and theoretical practice to elaborate on the expansions, revisions, departures, and interventions that the practice of life-writing and life-narrative scholarship has produced. The discussion concludes by identifying a few ideas that might offer new directions or understandings for those interested in how lives are represented.

Biography Studies Sustained—Residual as Dominant and Emergent

For a genre supposedly lapsing into subordinate status or irrelevance, biography continues to attract a great deal of critical and theoretical attention. Though usually retracing that familiar Western trajectory running from Rome through to contemporary trade publications, historical or thematic overviews, often written by well-known biographers, appear regularly. Some are reader-friendly primers, such as Nigel Hamilton’s Brief History , Hermione Lee’s Very Short Introduction , and Andrew Brown’s Brief History of Biography: From Plutarch to Celebs , all of which appeared in the early 21st century . More “weighty” accounts include Catherine N. Parke’s Biography: Writing Lives and Paula R. Backscheider’s Reflections , both published in the 1990s. 38 Before any of these histories, however, came Carl Rollyson’s Biography: An Annotated Bibliography ( 1992 ), which organized and annotated the critical literature in English. Arguably the most prolific writer on biography theory and criticism, Rollyson has published many biographies—political, literary, and cinematic—and several guides and essay collections about theory and practice. 39 Biography: A User’s Guide , for instance, discusses keywords alphabetically; Hans Renders and Nigel Hamilton adopt a similar format for The ABC of Modern Biography . 40 A popular sub-genre comprises books for would-be biographers written by famous practitioners. Extending back to Leon Edel, more recent examples include Michael Holroyd’s Works on Paper , Carl Rollyson’s Confessions of a Serial Biographer , and Nigel Hamilton’s How to Do Biography —a companion volume to his Brief History . 41

Literary lives appear prominently in all of these works, and many texts take them as their subject. John Batchelor’s The Art of Literary Biography and Warwick Gould and Thomas F. Staley’s Writing the Lives of Writers are edited collections arising out of conferences in the 1990s; more recently, Robert Dion and Frédéric Regard have edited Les nouvelles écritures biographiques , and Richard Bradford has overseen a substantial Companion to Literary Biography . 42 Individual monographs include Michael Benton’s Towards a Poetics of Literary Biography , and Rana Tekcan’s Too Far for Comfort . And even though she has reservations about focusing on female writers, Alison Booth’s How to Make It as a Woman is a detailed and insightful study of literary biography in the 19th and 20th centuries . 43

Despite literary biography’s apparently privileged status, historians have also explored biography’s significance to their field. Barbara Caine’s Biography and History was followed by two edited collections from the Netherlands: Hans Renders and Binne de Haan’s Theoretical Discussions of Biography ; and Renders, de Haan, and Jonne Harmsma’s The Biographical Turn . Both volumes argue for biography as a historical genre that does not share life writing’s preoccupations with race, class, and gender. That the distinction is significant is also suggested by the title of Tanya Evans and Robert Reynolds’s “Introduction to this Special Issue on Biography and Life-Writing” for disclosure . 44 German historians have also displayed a strong interest in biography, in edited clusters such as Atiba Pertilla’s and Uwe Spiekermann’s “The Challenge of Biography,” or Sarah Panter’s Mobility and Biography . 45

Monographs and collections have delineated specific periods and locations for study. Thomas Hägg’s The Art of Biography in Antiquity has some affinities with the Ashgate Research Companion to Byzantine Hagiography , edited by Stephanos Efthymiadis; with Sharpe and Zwicker’s edited collection on early modern England; and with Mombert and Rosellini’s edited volume Usages des vies . Juliette Atkinson’s Victorian Biography Reconsidered is an astute and suggestive study of England’s intense preoccupation with various forms of the genre. 46 And while such works tend to confine themselves to Western Europe—Great Britain, France, and Germany/Austria—or the United States, collections have focused on other regions, among them Eastern Europe and the Nordic countries. 47

Despite the longstanding suspicion of considering biography through the lens of contemporary theory, a substantial number of such works have appeared since c. 2005 , many from the Ludwig Boltzmann Institute for the History and Theory of Biography in Vienna. Wilhelm Hemecker, its director, has edited or co-edited several volumes; among them is the remarkable Theorie der Biographie , co-edited with Bernhard Fetz, which contains excerpts from famous authors and theorists with special relevance for biography—Samuel Johnson, Thomas Carlyle, William Dilthey, Sigfried Kracauer, Michel Foucault, the Vienna psychoanalysts—paired with commentaries by contemporary biography scholars. Fetz also edited Die Biographie—Zur Grundlegung ihrer Theorie , which appeared in 2009 . 48 More than a decade earlier, a similar overview was provided by Biographical Creation / La création biographique , an English/French volume edited by Marta Dvorak. 49 Monographs taking a sustained theoretical approach to biography are relatively rare. Two of the most notable are Susan Tridgell’s Understanding Our Selves and Caitríona Ní Dhúill’s Metabiography , an impressive overview by a scholar formerly at the Boltzmann Institute. 50

The subtitle of the journal Biography promises interdisciplinary scholarship. Thanks largely to Freud, psychoanalytic and psychological approaches to life narrative have appeared for over a century, with psychobiography emerging as a clearly delineated discipline. Alan C. Elms’s Uncovering Lives led the way, with William Todd Schultz’s Handbook of Psychobiography offering a synthesis of scholarly activity by such researchers as psychologist Dan P. McAdams, author of The Redemptive Self and many other studies of personality. 51 Other social sciences at times have taken their own biographical turn, among them both archaeology and anthropology. 52

Indigenous studies scholarship represents a significant emerging engagement. A special issue of Biography entitled “Indigenous Conversations about Biography” explores the genre’s value and dangers for researchers recovering or creating archives, histories, and life records. In The Power of the Steel-Tipped Pen , Noenoe K. Silva refers to her method of establishing critical and publishing genealogies for Hawaiians writing in Hawaiian in the 19th and early 20th centuries as bio-bibliography. Fine arts scholars are also assessing what biography contributes to their disciplines. Melanie Unseld’s Biographie und Musikgeschichte examines the genre’s usefulness for those interested in musical culture and historiography, and a Biography special issue entitled “Verse Biography” should not be immediately conflated with literary biography. Though the lives discussed are in verse, the subjects are not necessarily writers. 53

In their introduction to “Indigenous Conversations about Biography,” Alice Te Punga Somerville and Daniel Heath Justice note that even though the term “life writing” is common in academic circles, and even though the plan for the seminar for contributors held in Honolulu was to “unpack, repack, and throw out terms once we’re at the table,” they chose to stay with biography because it “is well-known in Indigenous circles,” concluding that “there is still life in this old term ʻbiography’ yet.” 54 The same can be said for the publishing world; in fact, “biographies” are regularly appearing for non-human subjects. Noted biographer and novelist Peter Ackroyd published London: The Biography in 2000 ; the “concise” version followed in 2012 . In Britain, biographies of the Ordnance Survey and the English Breakfast have also appeared. 55 Resisting relegation, biography can still raise and fulfill expectations of a chronological, substantial, and interesting narrative that deals with real subjects, human or otherwise—a good story, with the added virtue of being true.

Autobiography and Auto/Biography—Mapping Self-Representation

If autobiography studies began in the late 1970s, its institutionalization occurred in the mid- and late 1980s, and its later codification came with the journal a/b: Auto/Biography Studies and works such as Smith and Watson’s Reading Autobiography , the years since 1990 have also seen sustained efforts to define and further theorize the genre in ways that expand its range and history. Handbooks such as the two editions of Linda Anderson’s Autobiography and Laura Marcus’s Autobiography: A Very Short Introduction offer brief, engaging entries into the genre’s past and present. Other efforts to map out auto/biography as a generic marker and critical practice include The Routledge Auto/Biography Studies Reader , edited by Ricia Anne Chansky and Emily Hipchen. Much of the content first appeared in the pages of a/b: Auto/Biography Studies , which they co-edit. Ashley Barnwell and Kate Douglas’s co-edited Research Methodologies for Auto/Biography Studies provides an overview of work being conducted in the field as the 21st century enters its third decade, often with suggestions for future directions. 56

Volumes devoted to theory include Carole Allamand’s book about Philippe Lejeune’s great influence on “ l’autobiographie en théorie ” or Lia Nicole Brozgal’s Against Autobiography . Marlene Kadar’s emphasis on the postmodern is mirrored in edited collections by Ashley et al. and Couser and Fichtelberg, and in Gunnthórunn Gudmundsdóttir’s monograph Borderlines . 57 Other scholars turned their attention to the field’s historical and geographical reach. 58 In the United States, slave narratives have been a major subject for research. William L. Andrews’s To Tell a Free Story and Slavery and Class in the American South have been major contributions to this field. 59 If we add Rachel McLennan’s American Autobiography , the result is an emphatic rejection of Georges Gusdorf’s highly influential claim that autobiography was an 18th-century product of the Western European Enlightenment. 60

Over the course of his career, Paul John Eakin, one of the early champions of autobiographies as literary texts, has shifted his attention to autobiographies as foundational, even neurological, imperatives in all people. As the titles of How Our Lives Become Stories: Making Selves and Living Autobiographically: How We Create Identity in Narrative suggest, his close readings of published autobiographies are gestures toward identifying the structures and narratives of consciousness that constitute humans as humans. More philosophical in emphasis, Richard Freadman’s Threads of Life shares Eakin’s conviction that autobiography offers valuable information about human nature. 61 Autobiography has however attracted most critical and theoretical interest in the realm of the political, often with feminism as the starting point. Liz Stanley’s The Auto/Biographical I and Laura Marcus’s Auto/Biographical Discourses were influential British monographs; and Broughton and Anderson’s edited collection, Women’s Lives/Women’s Times , turned the tables by suggesting that autobiography could contribute to feminist theory, as well as the other way around. Many of these monographs and collections were powerfully shaped by work on the distinctiveness of women’s writing, most notably the autobiographical/theoretical texts of Hélène Cixous such as Rootprints , which emerged from her famous writings in the 1970s on l’écriture féminine . Noted memoirists such as Jill Ker Conway, in her When Memory Speaks , also evaluate how differently men and women understand and write about their lives. 62

Other scholars have worked to establish traditions of women’s self-representation, whether Florence S. Boos in Memoirs of Victorian Working-Class Women ; Laura Beard’s Acts of Narrative Resistance , which focuses on autobiographical writing in the Americas; or Marilyn Booth’s Journal of Women’s History special issue, “Women’s Autobiography in South Asia and the Middle East.” Some of the most visible theoretical works address the challenges of speaking out through autobiography against political or social repression. A 2008 special issue of Women’s Studies Quarterly was simply entitled “Witness.” Two of the best-known monographs are Gillian Whitlock’s Soft Weapons , which investigates the strategies Middle Eastern women employ to attract Western audiences in order to inform them about life during a time of forced globalization, emigration, and wars on terror; and Leigh Gilmore’s previously mentioned Tainted Witness , which looks at high-profile witnesses such as Anita Hill and Rigoberta Menchú to analyze the relationship between gender and credibility within patriarchal cultures. 63

Though strongly influenced by feminist theory, other critics and theorists extend their discussions of testimony out to a wide range of locations and chosen media. Cynthia Franklin and Laura E. Lyons co-edited “Personal Effects: The Testimonial Uses of Life Writing” as a special issue of Biography . The essays in Tracing the Autobiographical , edited by Marlene Kadar and colleagues, explore the interplay between genre, location, national politics, ethics, and life narrative. Although Leigh Gilmore entitled her 2000 monograph The Limits of Autobiography , subtitled Trauma, Testimony, Theory— and although a 2008 Southern Review special issue explores “The Limits of Testimony”—developments such as the Me Too movement suggest that personal witnessing by the abused or persecuted will continue to attract the attention of autobiography scholars. 64

A similar impulse accounts for the close attention being paid to autobiographical sub-genres. Prominent among these is memoir, which some would argue should become the covering term. G. Thomas Couser’s Memoir: An Introduction offers a concise yet rich overview of the form, with an emphasis on American memoir, while Ben Yagoda’s Memoir: A History provides a detailed account of the form’s fortunes over time. Both Couser and Yagoda move smoothly between “literary” examples and more commercial texts, acknowledging that popular publications of the 21st century are primarily responsible for many critics and reviewers declaring that we are living during a memoir “boom.” As with autobiography, however, some critics are hesitant to let this form of life writing refer to almost any mode of self-representation. A 2018 edited collection describes its task as Mediating Memory: Tracing the Limits of Memoir . 65

Autobiography scholars have also directed their attention to the less prestigious, and even unpublished sub-genres of written self-representation. Philippe Lejeune’s longstanding interest in personal journals has resulted in articles and books drawing their subjects from over four centuries and a variety of media—from manuscripts to computer screens. On Diary , a collection of English translations on the subject, is similar in its distillation of stimulating thought to On Autobiography , Lejeune’s landmark 1989 collection. The sheer number, variety, and importance of his publications confirm his status as a pre-eminent scholar of self-representation since the 1980s. In French, his work on diary is complemented by such works as Françoise Simonet-Tenant’s Le journal intime . In English, decades before On Diary appeared, Lejeune made an important contribution to Inscribing the Daily , edited by Suzanne L. Bunkers and Cynthia A. Huff. In that same collection, Helen Buss’s “A Feminist Revision of New Historicism to Give Fuller Readings of Women’s Private Writing” offers another example of how contemporary feminist theory engaged with other theoretical movements, and often did so by drawing upon autobiography as a source for hidden or “sub-literary” women’s texts. 66

Since c. 1990 , the auto- in auto/biography studies has largely set the agenda for theoretical and critical approaches to life writing; indeed, for many scholars, autobiography is all but synonymous with life narrative. But as Marlene Kadar noted in 1992 , the term “life writing” offers possibilities for study that autobiography cannot accommodate, or will even distort, as a survey of what has been pursued under the life banner makes all too clear. 67

Life Writing and Life Narrative—Emergence and Pervasion

In the years since Margaretta Jolly’s Encyclopedia of Life Writing appeared, many substantial works have addressed aspects and practices of life writing as an interdiscipline. Zachary Leader’s On Life-Writing is one of his many publications as a critic, theorist, and editor, and although literary biography is Richard Bradford’s primary interest, in his edited collection Life Writing: Essays on Autobiography, Biography and Literature , the term serves as a container for the more familiar designations. The title of Life Writing in the Long Run: A Smith & Watson Autobiography Studies Reader , a compendium of the most influential essays by two of autobiography’s most prolific and prominent critics, theorists, and editors, does something similar, and in fact many prominent a/b theorists have made the shift, at least in their titles, to a “life” designation. Liz Stanley’s 2013 edited collection is called Documents of Life Revisited , and the title of her 2010 guest-edited special issue of Life Writing is “In Dialogue: Life Writing and Narrative Inquiry.” Perhaps most significantly, almost twenty years after his landmark discussion of metaphors of self, James Olney, the acknowledged founder of autobiography studies, published Memory and Narrative: The Weave of Life-Writing . 68

The term increasingly appeared in publications about its fortunes in academia. When Miriam Fuchs and I edited a volume for the Modern Language Association’s Options for Teaching series, in the interests of full coverage, we entitled it Teaching Life Writing Texts . A decade later, Laurie McNeill and Kate Douglas’s a/b: Auto/Biography Studies special issue on pedagogy, and the resulting Routledge edited collection, were both called “Teaching Lives: Contemporary Pedagogies of Life Narratives.” For its two clusters on the subject, the European Journal of Life Writing took the same title as Fuchs and me, with the obvious addition “in Europe.” 69

As has been the case with both biography and autobiography, as part of its codification life writing has undergone a great deal of historical and regional analysis. Sometimes the results are interdisciplinary, such as Penny Summerfield’s Histories of the Self , but in the case of the multi-volume Oxford History of Life-Writing (Zachary Leader gen. ed.) the goal is to produce a comprehensive survey. The first two volumes, covering the Middle Ages and the early modern period respectively, appeared in 2018 . Other decidedly British, period-based publications include David Amigoni’s edited collection Life Writing and Victorian Culture , and Andrew Tate’s special issue of Nineteenth Century Contexts , “Victorian Life Writing.” 70 The historical focus extends to France and Germany in the Modern Language Studies special issue “Co-Constructed Selves: Nineteenth-Century Collaborative Life Writing.” Entirely European surveys include Écrire des vies: Espagne, France, Italie, XVIe–XVIIIe siècle, and German Life Writing in the Twentieth Century . 71

Continuing in the tradition of feminist critical interventions through autobiography, life writing has become a covering term for studies of women’s writing over the centuries and around the world. Some publications explicitly link theoretical positions to life writing; for instance, the Prose Studies special issue devoted to “Women’s Life Writing and Imagined Communities,” which puts Benedict Anderson’s brand of political science and cultural history into play. Other works employ life writing to map out genealogies of women authors and intellectuals. The edited collection Writing Medieval Women’s Lives reclaims a number of European subjects, and after writing Romancing the Self in Early Modern Englishwomen’s Life Writing , Julie Eckerle co-edited Women’s Life Writing and Early Modern Ireland with Naomi McAreavey. Reversing the pattern, Amy Culley followed up Women’s Life Writing, 1700–1850 , a collection co-edited with Daniel Cook, with a monograph entitled British Women’s Life Writing, 1760–1840 . 72 Susan Civale’s Romantic Women’s Life Writing covers much of the British nineteenth century , as does “Silence in the Archives: Censorship and Suppression in Women’s Life Writing,” a special issue of 19: Interdisciplinary Studies in the Long Nineteenth Century . Another co-edited collection, Women’s Life Writing and the Practice of Reading , ranges from slave narratives to Virginia Woolf. Finally, in Love and Struggle: Letters in Contemporary Feminism , Margaretta Jolly argues for the enduring power of written correspondence, whether on paper or as e-mail. 73

Delineations of criticism and theory from specific regions have adopted life writing as an organizing principle. “African American Life Writing” is the title of an a/b: Auto/Biography Studies special issue; other volumes dealing with North American subjects include Viola Amato’s Shifts in the Representation of Intersex Lives in North American Literature and Popular Culture , and Katherine Adams’s monograph Owning Up . 74 Ongoing work on European life writing has resulted in several survey collections. Life Writing Matters in Europe , paradoxically published in the Winter-Verlag American Studies series, is one of the more expansive volumes, but the region examined can be more specific, as in Simona Mitroiu’s Life Writing and Politics of Memory in Eastern Europe , or the European Journal of Life Writing ’s cluster “Life Writing Trajectories in Post- 1989 Eastern Europe”—despite the fact that “Eastern Europe” is a highly contested term. 75 A life-narrative focus can also govern work on non-European and non-North American regions, whether Africa, Australia, the Pacific, or South East Asia. 76 As for India, South Asia: Journal of South Asian Studies has featured a cluster entitled “Narratives of Transformation: Religious Conversion and Indian Traditions of Life Writing,” and Biography ’s 2017 special issue, “Caste and Life Narratives,” has been republished in India as an edited collection. An especially ambitious effort at global reach is Locating Life Stories: Beyond East-West Binaries in (Auto)Biographical Studies , which features essays about Malaysia, Indonesia, South Africa, Great Britain, Hawaiʻi, Iraq, Australia, India, and China as part of its effort to interrogate the dominance of Euro-American theoretical paradigms. 77

A number of prominent scholars have devoted books to decolonial, postcolonial, and diasporic life writing. Bart Moore-Gilbert’s Postcolonial Life-Writing presented itself as “the first critical assessment” of such texts in English. Philip Holden’s Autobiography and Decolonization casts a wide net in its analysis of life writing by Asian and African leaders of countries emerging from imperial occupation, and Gillian Whitlock’s Postcolonial Life Narratives surveys 18th- to 21st-century works by Indigenous and settler life writers on at least four continents. Edited collections include the 2013 special issue of Life Writing entitled “Women’s Life Writing and Diaspora,” and the books Ethnic Life Writing and Histories and Transculturing Auto/Biography . 78

Life writing has become a common component across disciplinary fields. “The Work of Life Writing,” an a/b: Auto/Biography Studies special issue, features articles grounded in family dynamics, working-class autobiography, ethnography, ecological studies, philosophy, medicine, political and social commentary, and institutional investigations. Paul John Eakin’s edited collection The Ethics of Life Writing foregrounds the relationship between ethics and aesthetics, but also explores testimonio , race, disclosure, and life writing as an agent of harm. David Parker’s The Self in Moral Space examines life writing as a site for ethical analysis. Life Writing has published a special issue entitled “Philosophy and Life Writing,” and Concentric: Literary and Cultural Studies one called “Life Writing as Empathy.” On a more discursive note, Joan Ramon Resina’s edited collection Inscribed Identities focuses on language as constitutive of the subject. 79

Vulnerability and precarity are central concerns for many life-writing sub-genres. Since the late 20th century , G. Thomas Couser has been the most prominent scholar exploring the relationship between life narrative and disability in his monographs and edited and co-edited collections. 80 Trauma in its various forms has been an important concern for life-writing scholars. Suzette A. Henke’s Shattered Subjects was one of the first publications to address profound physical and psychological upheavals, experienced personally or collectively. Susanna Egan’s Mirror Talk examines how crisis leads to cultural expression in media ranging from film to hybrid literary forms, and from quilting to comics. Miriam Fuchs’s The Text Is Myself explores the different forms life writing can take in response to historical, political, and personal assault. Gillian Whitlock and Kate Douglas’s co-edited Trauma Texts began as a special issue of Life Writing entitled “Trauma in the Twenty-First Century”; another edited collection in this field is Haunted Narratives: Life Writing in an Age of Trauma . 81 Meg Jensen’s The Art and Science of Trauma and the Autobiographical discusses prison poems, testimonio , war memorials, and other sites of commemoration as “complex interrogative negotiations of trauma and its aftermath.” Life writing and medicine has been attracting increasing attention. Mita Banerjee’s Medical Humanities in American Studies is a representative example. 82

Trauma can also be collective and global, and life writing often proves to be a crucial factor in judgment and restitution. Kay Schaffer and Sidonie Smith’s Human Rights and Narrated Lives explores how personal narratives often serve as the chosen response to national violence and deliberate crimes against humanity. Meg Jensen and Margaretta Jolly’s edited collection We Shall Bear Witness , and Katja Kurz’s monograph Narrating Contested Lives , both of which appeared in 2014 , also discuss life writing in the context of human rights. Testimony against institutional abuse is the subject of Melissa Dearey’s Radicalization , and social movements such as Me Too and Black Lives Matter foreground life narrative as a strategy for opposing oppression and violence carried out by state agents and those invested in economic, political, or cultural dominance. Brittney Cooper and Treva B. Lindsey’s co-edited special issue of Biography , “M4BL and the Critical Matter of Black Lives,” combines theory and personal testimony in an innovative manner. 83

Are Life Narratives always Life Writing?

Many critical and theoretical works of the 21st century seem to leave the writing behind—a major reason life narrative is increasingly chosen as the covering term. While Marianne Hirsch’s Family Frames is one of the most important books on life writing for many reasons, her attention to the power of images on the understanding of the past, extending even to Art Spiegelman’s graphic memoir Maus , has been profoundly influential. By calling attention to the frequent disjunctions between text and photographs, Timothy Dow Adams’s Light Writing & Life Writing is also a transitional text of sorts, anticipating the emergence of comics and other visual and verbal hybrids as major sites for examining life representation. 84 “Autographics,” a Biography special issue co-edited by Gillian Whitlock and Anna Poletti, is one of many collections and monographs that explore how life narratives are embodied in comic and other graphic forms. Hillary Chute, a prolific editor, interviewer, archivist, critic, and theorist of comics, has published two monographs that document the intersections of comics, life writing, feminism, and history: Graphic Women and Disaster Drawn . 85 Michael A. Chaney’s Reading Lessons in Seeing , and his edited collection Graphic Subjects , are substantial contributions to theorizing the interplay between life writing and comics. Elisabeth El Refaie’s Autobiographical Comics is another extended study, and Candida Rifkind and Linda Warley’s co-edited collection Canadian Graphic is devoted to a single country’s comics life-writing production. 86

Critical and theoretical work on other hybrid genres includes Anna Poletti’s Intimate Ephemera , Ellen Gruber Garvey’s Writing with Scissors , and Hertha D. Sweet Wong’s Picturing Identity , which discusses forms ranging from book art to comics to sketch illustrations to geographic installations. Almost any life-writing analysis must now engage with the pervasiveness of visual representation, which can be recognized as having been an important component for many centuries as well. For instance, the texts examined in Leigh Gilmore and Elizabeth Marshall’s Witnessing Girlhood , a study of testimonial traditions that draws together gender, youth, and race, range from slave narratives and testimonio to comics and picture books. 87

Responding to the proliferation of critical and theoretical engagements across genres, media, and disciplines, in a special issue of Life Writing , and a subsequent book, co-editors David McCooey and Maria Takolander ask what “the limits of life writing,” if any, might be. Gillian Whitlock and G. Thomas Couser implicitly ask the same question in their co-edited Biography special issue entitled “(Post)Human Lives”; and in another Biography special issue, “Life Writing and Corporate Personhood,” co-editors Purnima Bose and Laura E. Lyons's examine how analogies to human life narratives pervade institutional and business self-promotion. Grounding lives in natural environments is the organizing principle for Alfred Hornung and Zhao Baisheng’s co-edited collection Ecology and Life Writing . 88 Just as trade publishers are labeling engaging narratives about anything from God to salt as biographies, so the critical concept of life writing is being stretched to contain virtually anything that presents or mimics a human story.

In terms of critical and theoretical attention, however, no medium for life narratives has been more immediately recognized in its emergence, or more closely examined, than what a pair of Biography special issues have identified as “Online Lives” and “Online Lives 2.0.” Anna Poletti and Julie Rak address the same phenomenon in their edited collection Identity Technologies: Constructing the Self Online . 89 The prevalence, and even dominance, of life narratives in online environments has caused critics and theorists to recalibrate their work to account for this migration and mediation. This is especially true for studies of young life writers. The title of Emma Maguire’s book Girls, Autobiography, Media: Gender and Self-Mediation in Digital Economies takes for granted that the narratives to be discussed will be online, and Kate Douglas and Anna Poletti’s Life Narratives and Youth Culture ranges from more traditional memoirs, letters, and diaries to social media. 90

Moving beyond the exclusively written has also revivified a longstanding awareness of biography as performance. Popular from film’s earliest days, the biopic has attracted substantial critical and theoretical attention. George Custen’s pathbreaking volume Bio/Pics: How Hollywood Constructed Public History was published in 1992 , and a Biography special issue entitled “The Biopic,” edited by Glenn Man, appeared in 2000 . Originally a special issue of a/b: Auto/Biography Studies , William H. Epstein and R. Barton Palmer’s co-edited Invented Lives, Imagined Communities dwells on the history and the cultural shaping force of film biographies. While providing a historical overview, Dennis Bingham’s massive Whose Lives Are They Anyway? focuses on post-World War II films, with a particular emphasis on biopics with women subjects. Tom Brown and Belén Vidal’s co-edited collection The Biopic in Contemporary Film Culture takes on a similar subject. 91 Biopic critics’ interest in actors and impersonation links their work to life-writing studies of performance. Ryan Claycomb’s Lives in Play argues that since the 1970s, life narratives have been central to the construction and performance of feminist theater. A special issue of LiNQ: Connected Writing and Scholarship entitled “Performing Lives” focuses upon the literal and metaphorical aspects of performance resulting from life writing’s migration “into other media including film, television, online, theatre, and the gallery.” Other scholars are studying those figures whose performance of their public identities led to great and enduring notoriety or acclaim. Clara Tuite’s Lord Byron and Scandalous Celebrity subordinates the events of Byron’s life to a study of the fascination he aroused, and continued to arouse, in the public. Daniel Herwitz discusses celebrity in The Star as Icon , and Katja Lee and Lorraine York tackle a similar subject in their co-edited collection Celebrity Cultures in Canada , though they restrict their stargazing to a single country. 92 Fan studies are an integral part of popular-culture scholarship, employing a vocabulary awash in terms such as idols, icons, influencers, and “reality” stars.

The quotation marks around “reality” point to a critical commonplace about life writing—that as acts of representation, such texts necessarily employ fictional materials and constructs. The veracity claims of life-writing texts, captured in a term like non-fiction, are always under scrutiny, and sometimes considered subordinate to concerns with aesthetics or craft—a belief expressed in the term “creative non-fiction.” Efforts to blur or eliminate the borders between fiction and non-fiction are often motivated by a desire to absorb life narratives back into the domain of literature, and principally prose fiction, where the commitment to art may require writers to remake historical fact or the contents of memory in response to the demands of form and aesthetics. Although Serge Doubrovsky is credited with coining the term “autofiction” in the 1970s to describe his own work, many critical and theoretical monographs treat this process as their principal concern, among them Max Saunders’s Self-Impression , and Gunnthórunn Gudmundsdóttir’s Representations of Forgetting in Life Writing and Fiction . Edited collections also address the significance of these generic boundaries. Chief among these is Martina Wagner-Egelhaaf’s three-volume Handbook of Autobiogography/Autofiction . In Life Writing and Literary Métissage as an Ethos of Our Times, Erika Hasebe-Ludt, Cynthia M. Chambers, and Carl Leggo suggest that the interplay between personal histories and aesthetics has a profound moral component, while the title Experiments in Life-Writing: Intersections of Auto/Biography and Fiction suggests where that volume’s editors consider the most interesting of those experiments to occur. A related juxtaposition appears in the title of Jean-Louis Jeannelle and Catherine Viollet’s co-edited volume Genèse et autofiction , and the title of Helena Grice’s Asian American Fiction, History, and Life Writing lays out a continuum of sorts. 93

The greatest champion for biofiction as a sub-discipline is critic and theorist Michael Lackey, who has written, edited, or co-edited numerous books and collections. 94 It is fair to say that those interested in biofiction are primarily concerned with how the historical is drawn into the literary, and that the resulting sub-genre’s appeal is not its historical veracity, but its enlistment of history and biography in the cause of literary aesthetics. One parallel but distinctly different area of interest regards the hoax life narrative. Susanna Egan’s Burdens of Proof evaluates a number of texts produced through literary imposture, and Nancy K. Miller’s “The Entangled Self” is an astute and suggestive discussion of the issue. 95

The discussion has travelled full circle—from a virtual abandonment of the desire to see life writing as literature, or even necessarily verbal, with a corresponding emphasis on the cultural, political, visual, or virtual, to a reassertion of literature, and more specifically prose fiction, as setting the highest and most appropriate standards for writers of historically and biographically informed creative prose. The journey itself, however, suggests just how capacious the term “life writing” has become.

Future Thoughts—Life, Biobits, and the Environment

Marlene Kadar argued in 1992 that life writing had to extend itself beyond genre to critical practice. 96 In the intervening years, the number of genres and sub-genres, the amount of critical and theoretical attention, and the variety of practices undertaken have increased at an accelerating rate. It seems appropriate to close with some observations about how rethinking certain components of life writing as understood, theorized, and practiced might lead to new directions and widened perspectives. Those components are the fundamental ones—“life” and “writing/narrative.” Lauren Berlant offers insights into the first, and Marlene Kadar the second. With Kadar again providing the enabling metaphor, the discussion will finally turn to what should be the next theoretical transition for life writing—from practice to environment.

After being invited to witness “Life Writing and Intimate Publics,” the 2010 International Auto/Biography Association conference held in Sussex, United Kingdom, Lauren Berlant was asked her opinion about how the participants had dealt not only with her famous term, but also with life writing, the organization’s reason for being. Berlant confessed she was “worried about the presumed self-evident value of bionarrative”:

I kept asking people to interrogate how the story of having a “life” itself coasts on a normative notion of human biocontinuity: what does it mean to have a life, is it always to add up to something? . . . To my ear, the genre of the “life” is a most destructive conventionalized form of normativity: when norms feel like laws, they constitute a sociology of the rules for belonging and intelligibility whose narrowness threatens people’s capacity to invent ways to attach to the world. 97

Berlant’s comment is very helpful, because it prompts us to look seriously at the “bio” of autobiography and biography, and at the “life” of life writing. She suggests locales where this interrogation is already underway:

Queer, socialist/anti-capitalist, and feminist work have all been about multiplying the ways we know that people have lived and can live, so that it would be possible to take up any number of positions during and in life in order to have “a life.” 98

Such work has expanded the range and value of life writing as a practice; an even stronger commitment to determining what is meant by “a life” can only lead to new possibilities for socially and politically engaged scholarship.

But Berlant is suspicious of “writing” as well, and not because the attention of so much scholarship has been redirected to graphic narratives, or online. Her concern about the “self-evident value of bionarrative” also suggests that replacing “life writing” with “life narrative” as the covering term might still set an uninterrogated limit on what we should be examining. Entertaining the possibility of “a biography of gesture, of interruption,” Berlant asks rhetorically “Shouldn’t life writing be a primary laboratory for theorizing ʻthe event’?” 99 Marlene Kadar argues that such theoretical practice is already happening. In her essay “The Devouring: Traces of Roma in the Holocaust,” she campaigns for including “the fragment and trace as member-genres in the taxonomy of auto/biographical practices” outlined in such theoretical works as her own “(flawed) 1992 definition of life-writing texts.” 100 Drawing upon Blanchot’s sense of the fragment as “an unfinished separation that is always reaching out for further interpretation,” Kadar suggests that when confronted with the near-erasure of all evidence that a life was ever lived, we can register affect even when lacking narrative. Any surviving evidence of a life can potentially express “more than what happened,” and anything that “helps us to understand what the particular event means to the subject, can be read as autobiographical.” Whether a song, a tattoo, an anecdote, or a name on a list, in its evocative yet resisting brevity, the fragment speaks of a life without providing even the outline of a realized narrative—“what it felt like, not exactly what it was like.” 101 Kadar therefore sets forth “the fragment and trace as genres that both contribute to our previous theorizations” of autobiography and life narrative, but “also as necessarily unfinished genres that call out to us to attempt to finish them”—often with important critical and political results. 102 One might add that, in discursive terms, the fragment or trace can be thought of as analogous to the morpheme—they are the smallest units recognizable as evidence of a life. With an embedded reference to virtual and online representation, these fragments and traces might be termed “biobits.”

The biobit would represent the micro limit of life writing theory; drawing upon but extending Kadar once more, one can suggest what the macro might be. In “Whose Life Is It Anyway? Out of the Bathtub and into the Narrative,” Kadar insists on the need to “theorize a new genre that still goes beyond and yet includes the old word [autobiography], the old gender, and the old style,” but will also “name what is now.” But this new genre must differ markedly from our common understanding, because “like water,” which “assumes the shape of the vessel” containing it, the nature of the contents of this new genre will not be determined or defined by the container. The “essence” of genre “can never really be captured.” 103 To elaborate on this thought, Kadar turns to a novel by Gail Scott. While most of the main character’s life takes place in a bathtub, we know that at some point she will have to leave it—a move that will carry her “Out of the Bathtub and into Narrative.” Life writing, then, is best thought of not as a container, a genre, or a practice, but to the greatest extent possible, as a component of uncontained water: an ocean, an environment in which micro biomass—biobits—coexists with the largest, most familiar, most coherent examples—the biographies and autobiographies, the autoethnographies and the biopics, the online presences and the comics. Though all are in some way engaged in and linked through bio-representation, only some are implicated in writing, or even in narrative.

If viewed in this way, all of life writing’s inherited genres and sub-genres remain useful and productive methods for describing, comparing, and acting. But it must always be remembered that neither genre nor practice is sufficient as a ground or container for theorizing what may still be called life writing or life narrative, but could perhaps be more accurately referred to as signs of life.

1. See Julie Rak, “Marlene Kadar’s Life Writing: Feminist Theory outside the Lines,” a/b: Auto/Biography Studies 33, no. 3 (2018): 541–549 ; Marlene Kadar, “Coming to Terms: Life Writing—From Genre to Critical Practice,” in Essays on Life Writing , ed. Marlene Kadar (Toronto: University of Toronto Press, 1992 ), 3–16, quotation at 4; and Donald J. Winslow, Life-Writing: A Glossary of Terms in Biography, Autobiography, and Related Forms , Biography Monographs (Honolulu: University of Hawaiʻi Press, 1980 ). Winslow’s book first appeared as Donald J. Winslow, “Glossary of Terms in Life Writing,” pts. 1 and 2, Biography: An Interdisciplinary Quarterly 1, no. 1 (1978): 61–78; and 1, no. 2 (1978): 61–85.

2. For the phrase “the New Critical wolf,” see Marlene Kadar, “Whose Life Is It Anyway? Out of the Bathtub and into the Narrative,” in Kadar, Essays on Life Writing , 152–161, at 154. For the other quotations, see Kadar, “Coming to Terms,” 4–6.

3. Kadar, “Coming to Terms,” 9.

4. Kadar, “Coming to Terms,” 10.

5. Kadar “Coming to Terms,” 12. Kadar notes that her argument here is informed by pp. 162–165 of Elizabeth Fox-Genovese, “To Write My Self: The Autobiographies of Afro-American Women,” in Feminist Issues in Literature Scholarship , ed. Shari Benstock (Bloomington: Indiana University Press, 1987 ), 161–180.

6. James Olney, “Autobiography and the Cultural Moment: A Thematic, Historical, and Bibliographical Introduction,” in Autobiography: Essays Theoretical and Critical , ed. James Olney (Princeton, NJ: Princeton University Press, 1980 ), 3–27.

7. For a sampling of such texts, see Lytton Strachey, Eminent Victorians , reprinted ed. (London: Penguin, 1990 ; 1st ed. 1918); Harold Nicolson, The Development of English Biography (London: Hogarth Press, 1928 ); Leon Edel, Writing Lives: Principia Biographica (New York: Norton, 1987 ); and Ira Bruce Nadel, Biography: Fiction, Fact and Form (New York: St. Martin’s Press, 1984 ). For a post-structuralist approach to biography, see William H. Epstein, ed., Contesting the Subject: Essays in the Postmodern Theory and Practice of Biography and Biographical Criticism (West Lafayette, IN: Purdue University Press, 1991 ).

8. James Olney, Metaphors of Self: The Meaning of Autobiography (Princeton, NJ: Princeton University Press, 1972 ).

9. Ricia Anne Chansky, “General Introduction,” in The Routledge Auto/Biography Studies Reader , eds. Ricia Anne Chansky and Emily Hipchen (London and New York: Routledge, 2016 ), xx–xxii, quotations at xx and xxi.

10. Sidonie Smith, “Foreword,” in Chansky and Hipchen, The Routledge Auto/Biography Studies Reader , xvii–xix, at xviii.

11. Sidonie Smith and Julia Watson, Women, Autobiography, Theory: A Reader (Madison: University of Wisconsin Press, 1998 ).

12. See, for example, Paul de Man, “Autobiography as De-Facement,” Modern Language Notes 94, no. 5 (1979) : 919–930; and Roland Barthes, Roland Barthes by Roland Barthes , trans. Richard Howard (New York: Hill and Wang, 1977 ).

13. Philippe Lejeune, “The Autobiographical Pact,” in On Autobiography , by Philippe Lejeune, trans. Katherine Leary, with a foreword by Paul John Eakin (Minneapolis: University of Minnesota Press, 1989), 3–30 (the essay was originally published in French in 1977); Paul John Eakin, Fictions of Autobiography: Studies in the Art of Self-Invention (Princeton, NJ: Princeton University Press, 1985) ; and Paul John Eakin, Touching the World: Reference in Autobiography (Ithaca, NY: Princeton University Press, 1992) .

14. Sidonie Smith, A Poetics of Women’s Autobiography: Marginality and the Fictions of Self-Representation (Bloomington: Indiana University Press, 1987) ; and Sidonie Smith and Julia Watson, eds., De/Colonizing the Subject: The Politics of Gender in Women’s Autobiography (Minneapolis: University of Minnesota Press, 1992) .

15. For works by the authors and editors mentioned in this paragraph, see the “Further Reading” section.

16. Margaretta Jolly, ed., Encyclopedia of Life Writing: Autobiographical and Biographical Forms , 2 vols. (London: Fitzroy Dearborn, 2001) , quotations at ix and x.

17. Jolly, Encyclopedia , ix, x; and Sidonie Smith and Julia Watson, eds., Getting a Life: Everyday Uses of Autobiography (Minneapolis: University of Minnesota Press, 1996) .

18. Jolly, Encyclopedia , ix, x.

19. Sidonie Smith and Julia Watson, Reading Autobiography: A Guide for Interpreting Life Narratives , 2nd ed. (Minneapolis: University of Minnesota Press, 2010) , 2. The first edition was published in 2001; for convenience this article quotes from the second edition.

20. Smith and Watson, Reading Autobiography , 3, 4.

21. Smith and Watson, Reading Autobiography , 211, citing Smith and Watson, Women, Autobiography, Theory .

22. Smith and Watson, Reading Autobiography , 211.

23. Smith and Watson, Reading Autobiography , 204–205.

24. Smith and Watson, Reading Autobiography , 214. The works they mention are: Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (London and New York: Routledge, 1990) ; Judith Butler, Bodies that Matter: On the Discursive Limits of “Sex” (London and New York: Routledge, 1993) ; and Sidonie Smith, Subjectivity, Identity, and the Body: Women’s Autobiographical Practices in the Twentieth Century (Bloomington: Indiana University Press, 1993) .

25. Smith and Watson, Reading Autobiography , 216. They cite John Paul Eakin, How Our Lives Become Stories: Making Selves (Ithaca, NY: Cornell University Press, 1999) ; and Nancy K. Miller, “Representing Others: Gender and the Subjects of Autobiography,” Differences 6, no. 1 (1994) : 1–27.

26. Smith and Watson, Reading Autobiography , 215.

27. Smith and Watson, Reading Autobiography , 218.

28. Smith and Watson, Reading Autobiography , 234. Their Appendix A is at 253–286.

29. Raymond Williams, Marxism and Literature (Oxford: Oxford University Press, 1977) , pp. 121–126. There isn’t a citation for Kadar—that’s me saying she would agree with Williams on this. The Williams distinction is a commonplace by now.

30. Kadar, “Coming to Terms,” 10.

31. I have written at some length about this in relation to Renders and De Haan and the Biographers International Organization, with particular attention paid to Biography: An Interdisciplinary Quarterly , which I co-edit; the University of Hawaiʻi at Mānoa’s Center for Biographical Research, which I direct; and the International Auto/Biography Association-Listserv, which I manage. See Craig Howes, “What Are We Turning From? Research and Ideology in Biography and Life Writing,” in The Biographical Turn: Lives in History , eds. Hans Renders, Binne de Haan, and Jonne Harmsma (London and New York: Routledge, 2016) , 165–175.

32. Hans Renders, “Biography in Academia and the Critical Frontier in Life Writing,” in Theoretical Discussions of Biography: Approaches from History, Microhistory, and Life Writing , eds. Hans Renders and Binne de Haan (Leiden: Brill, 2013) , 169–176, at 169. Michael Holroyd, “Changing fashions in biography,” The Guardian , 6 November 2009 .

33. Renders, “Biography in Academia,” 172.

34. Renders, “Biography in Academia,” 172.

35. For a more detailed account of this suspicion, see Craig Howes, “Ethics and Literary Biography,” in A Companion to Literary Biography , ed. Richard Bradford (Chichester: Wiley Blackwell, 2018) , 123–142. It should be noted that while they may share an aversion to criticism and theory, if anything, literary artists often have a greater contempt for biographers.

36. Julie Rak, Boom! Manufacturing Memoir for the Popular Market (Waterloo, Canada: Wilfrid Laurier University Press, 2013) , quotations at 4 and 3; and Julie Rak, ed., “Pop Life,” special issue, Canadian Review of American Studies 38, no. 3 (2008) .

37. Leigh Gilmore, Tainted Witness: Why We Doubt What Women Say About Their Lives (New York: Columbia University Press, 2017) .

38. Nigel Hamilton, Biography: A Brief History (Cambridge, MA: Harvard University Press, 2007) ; Hermione Lee, Biography: A Very Short Introduction (Oxford: Oxford University Press, 2009) ; Andrew Brown, A Brief History of Biographies: From Plutarch to Celebs (London: Hesperus, 2011) ; Catherine N. Parke, Biography: Writing Lives; Themes and Genres . Twayne's Studies in Literary Themes and Genres (London and New York: Routledge, 1996) ; and Paula R. Backscheider, Reflections on Biography (Oxford: Oxford University Press, 1999) .

39. Carl Rollyson, Biography: An Annotated Bibliography (Pasadena, CA: Salem, 1992) . Among Rollyson’s many other works are: Carl Rollyson, Reading Biography (Lincoln, NE: iUniverse, 2004) ; Carl Rollyson, A Higher Form of Cannibalism? Adventures in the Art and Politics of Biography (Chicago: Ivan R. Dee, 2005) ; and Carl Rollyson, Confessions of a Serial Biographer (Jefferson NC: McFarland, 2016) .

40. Carl Rollyson, Biography: A User’s Guide (Chicago: Ivan R. Dee, 2008) ; and Nigel Hamilton and Hans Renders, The ABC of Modern Biography (Amsterdam: Amsterdam University Press, 2018) .

41. Edel, Writing Lives ; Michael Holroyd, Works on Paper: The Craft of Biography and Autobiography (Berkeley: Counterpoint, 2002) ; Rollyson, Confessions ; Nigel Hamilton, How To Do Biography: A Primer (Cambridge, MA: Harvard University Press, 2008) ; and Hamilton, Biography .

42. John Batchelor, ed., The Art of Literary Biography (Oxford: Clarendon, 1995) ; Warwick Gould and Thomas F. Staley, eds., Writing the Lives of Writers (London: Palgrave Macmillan, 1998) ; Robert Dion and Frédéric Regard, eds., Les nouvelles écritures biographiques (Lyon: ENS Éditions, 2013) ; and Richard Bradford, ed., A Companion to Literary Biography (Chichester: Wiley Blackwell, 2019) . My essay “Ethics and Literary Biography” appears in Bradford’s collection.

43. Michael Benton, Towards a Poetics of Literary Biography (London: Palgrave Macmillan, 2015) ; Rana Tekcan, Too Far for Comfort: A Study on Biographical Distance (Stuttgart: Ibidem, 2015) ; and Alison Booth, How to Make It as a Woman: Collective Biographical History from Victoria to the Present (Chicago: University of Chicago Press, 2004) . She mentions her reservations at 130.

44. Barbara Caine, Biography and History (London: Palgrave Macmillan, 2010) ; Hans Renders and Binne de Haan, eds., Theoretical Discussions of Biography: Approaches from History, Microhistory, and Life Writing (Leiden: Brill, 2013) ; Renders, de Haan, and Harmsma, The Biographical Turn ; and Tanya Evans and Robert Reynolds, “Introduction to this Special Issue on Biography and Life-Writing,” disclosure 21 (2012) : 1–8.

45. Atiba Pertilla and Uwe Spiekermann, eds., “Forum: The Challenge of Biography,” special section, Bulletin of the German Historical Institute 55 (2014) ; and Sarah Panter, ed., Mobility and Biography , Jahrbuch für Europäische Geschichte / European History Yearbook 16 (Berlin: De Gruyter, 2015) .

46. Tomas Hägg, The Art of Biography in Antiquity (Cambridge: Cambridge University Press, 2012) ; Stephanos Efthymiadis, ed., The Ashgate Research Companion to Byzantine Hagiography , vol. 2, Genres and Contexts (Farnham, Surrey: Ashgate, 2014) ; Kevin Sharpe and Steven N. Zwicker, eds., Writing Lives: Biography and Textuality, Identity and Representation in Early Modern England (Oxford: Oxford University Press, 2009) ; Sarah Mombert and Michèle Rosellini, eds., Usages des vies: Le biographique hier et aujourd’hui (XVIIe–XXIe siècle) (Toulouse: Presses Universitaires du Mirail, 2012) ; and Juliette Atkinson, Victorian Biography Reconsidered: A Study of Nineteenth-Century “Hidden” Lives (Oxford: Oxford University Press, 2010) .

47. Examples of such work include: Robin Humphrey, Robert Miller, and Elena Zdravomyslova, eds., Biographical Research in Eastern Europe: Altered Lives and Broken Biographies (Farnham, Surrey: Ashgate, 2003) ; Erla Hulda Halldórsdóttir et al., eds., Biography, Gender and History: Nordic Perspectives (Turku: K&H, 2017) ; and Maarit Leskelä-Kärki, Toisten elämät: Kirjoituksia elämäkerroista (Avain, 2017) .

48. Wilhelm Hemecker, ed., Die Biographie—Beiträge zu ihrer Geschichte (Berlin: De Gruyter, 2009) ; Wilhelm Hemecker and Edward Saunders, eds., with Gregor Schima, Biography in Theory: Key Texts with Commentaries (Berlin: De Gruyter, 2018) ; Bernhard Fetz and Wilhelm Hemecker, eds., Theorie der Biographie: Grundlagentexte und Kommentar (Berlin: De Gruyter, 2011) ; and Bernhard Fetz, ed., Die Biographie—Zur Grundlegung ihrer Theorie (Berlin: De Gruyter, 2009) . All these except the Hemecker and Saunders volume were published by De Gruyter on behalf of the Ludwig Boltzmann Institute.

49. Marta Dvorak, ed., Biographical Creation / La création biographique (Rennes: Presses Universitaires Rennes, 1997) .

50. Susan Tridgell, Understanding Our Selves: The Dangerous Art of Biography (New York: Peter Lang, 2004) ; and Caitríona Ní Dhúill, Metabiography: Reflecting on Biography , Palgrave Studies in Life Writing (London: Palgrave, 2020) .

51. Alan C. Elms, Uncovering Lives: The Uneasy Alliance of Biography and Psychology (Oxford: Oxford University Press, 1994) ; William Todd Schultz, ed., Handbook of Psychobiography (Oxford: Oxford University Press, 2005) ; and Dan P. McAdams, The Redemptive Self: Stories Americans Live By (Oxford: Oxford University Press, 2005) .

52. See, for example, Carolyn L. White, ed., The Materiality of Individuality: Archaeological Studies of Individual Lives (New York: Springer, 2009) ; Ann L. W. Stodder and Ann M. Palkovich, eds., The Bioarchaeology of Individuals (Gainesville: University Press of Florida, 2012) ; Michaela Köttig et al., eds., “Biography and Ethnicity,” special issue, Forum: Qualitative Social Research 10, no. 3 (2009) ; and Sophie Day Carsten and Charles Stafford, eds., “Reason and Passion: The Parallel Worlds of Ethnography and Biography,” special issue, Social Anthropology 26, no. 1 (2018) : 5–14.

53. Alice Te Punga Somerville, Daniel Heath Justice, and Noelani Arista, eds., “Indigenous Conversations about Biography,” special issue, Biography: An Interdisciplinary Quarterly 39, no. 3 (2016) : 239–247; Noenoe K. Silva, The Power of the Steel-Tipped Pen: Reconstructing Native Hawaiian Intellectual History (Durham, NC: Duke University Press, 2017) ; Melanie Unseld, Biographie und Musikgeschichte: Wandlungen biographischer Konzepte in Musikkultur und Musikhistoriographie (Cologne: Böhlau, 2014) ; and Anna Jackson, ed., “The Verse Biography,” special issue, Biography: An Interdisciplinary Quarterly 39, no. 1 (Winter 2016) .

54. Alice Te Punga Somerville and Daniel Heath Justice, “Introduction: Indigenous Conversations about Biography,” Biography: An Interdisciplinary Quarterly 39, no. 3 (2016) : 239–247, at 243.

55. Peter Ackroyd, London: The Biography (London: Chatto and Windus, 2000) ; Peter Ackroyd, London: The Concise Biography (London: Vintage, 2012) ; Rachel Hewitt, Map of a Nation: A Biography of the Ordnance Survey (London: Granta, 2011) ; and Kaori O’Connor, The English Breakfast: The Biography of a National Meal, with Recipes , rev. ed. (London: Bloomsbury, 2013) .

56. Linda Anderson, Autobiography , 2nd ed. (London and New York: Routledge, 2010 ; 1st ed. 2001); Laura Marcus, Autobiography: A Very Short Introduction (Oxford: Oxford University Press, 2018) ; Chansky and Hipchen, The Routledge Auto/Biography Studies Reader ; and Kate Douglas and Ashley Barnwell, eds., Research Methodologies for Auto/Biography Studies (London: Routledge, 2019) .

57. Carole Allamand, Le “Pacte” de Philippe Lejeune; ou, L’autobiographie en théorie (Paris: Honoré Champion, 2018) ; Lia Nicole Brozgal, Against Autobiography: Albert Memmi and the Production of Theory (Lincoln: University of Nebraska Press, 2018) ; Kathleen Ashley, et al., eds., Autobiography and Postmodernism (Amherst: University of Massachusetts Press, 1995) ; G. Thomas Couser and Joseph Fichtelberg, eds., True Relations: Essays on Autobiography and the Postmodern (Westport, CN: Greenwood, 1998) ; and Gunnthórunn Gudmundsdóttir, Borderlines: Autobiography and Fiction in Postmodern Life Writing (Amsterdam: Rodopi, 2003) .

58. For examples of such historical and geographical investigations, see Carsten Heinze and Alfred Hornung, eds., Medialisierungsformen des (Auto-) Biografischen (Konstanz: UVK, 2013) ; Ronald Bedford, Lloyd Davis, and Philippa Kelly, eds., Early Modern Autobiography: Theories, Genres, Practices (Ann Arbor: University of Michigan Press, 2006) ; Ronald Bedford, Lloyd Davis, and Philippa Kelly, Early Modern English Lives: Autobiography and Self-Representation, 1500–1660 (Farnham, Surrey: Ashgate, 2007) ; and Arianne Baggerman, Rudolf Dekker, and Michael Mascuch, eds., Controlling Time and Shaping the Self: Developments in Autobiographical Writing since the Sixteenth Century (Leiden: Brill, 2011) .

59. William L. Andrews, To Tell a Free Story: The First Century of African-American Autobiography, 1760–1865 (Urbana: University of Illinois Press, 1986); and William L. Andrews, Slavery and Class in the American South: A Generation of Slave Narrative Testimony , 1840–1865 (Oxford: Oxford University Press, 2019) .

60. Rachel McLennan, American Autobiography (Edinburgh: Edinburgh University Press, 2012) . Georges Gusdorf “Conditions and Limits of Autobiography,” pp. 28–48.

61. Eakin, How Our Lives Become Stories ; Paul John Eakin, Living Autobiographically: How We Create Identity in Narrative (Ithaca, NY: Cornell University Press, 2008) ; and Richard Freadman, Threads of Life: Autobiography and the Will (Chicago: University of Chicago Press, 2001) .

62. Liz Stanley, The Auto/Biographical I: The Theory and Practice of Feminist Auto/Biography (Manchester: Manchester University Press, 1992) ; Laura Marcus, Auto/Biographical Discourses: Theory, Criticism, Practice (Manchester: Manchester University Press, 1994) ; Trev Broughton and Linda Anderson, eds., Women’s Lives/Women’s Times: New Essays on Auto/Biography (New York: SUNY Press, 1997) ; Hélène Cixous and Mireille Calle-Gruber, Rootprints: Memory and Life-Writing , trans. Eric Prenowitz (London and New York: Routledge, 1997) ; and Jill Ker Conway, When Memory Speaks: Reflections on Autobiography (New York: Knopf, 1998) .

63. Florence S. Boos, Memoirs of Victorian Working-Class Women: The Hard Way Up , Palgrave Studies in Life Writing (London: Palgrave Macmillan, 2017) ; Laura J. Beard, Acts of Narrative Resistance: Women’s Autobiographical Writings in the Americas (Charlottesville: University of Virginia Press, 2009) ; Marilyn Booth, ed., “Women’s Autobiography in South Asia and the Middle East,” special issue, Journal of Women’s History 25, no. 2 (2013) ; Kathryn Abrams and Irene Kacandes, eds., “Witness,” special issue, Women’s Studies Quarterly 36, nos. 1–2 (2008) : 13–27; Gillian Whitlock, Soft Weapons: Autobiography in Transit (Chicago: University of Chicago Press, 2007) ; and Gilmore, Tainted Witness .

64. Cynthia Franklin and Laura E. Lyons, eds., “Personal Effects: The Testimonial Uses of Life Writing,” special issue, Biography: An Interdisciplinary Quarterly 27, no. 1 (2004) ; Marlene Kadar et al., eds., Tracing the Autobiographical (Waterloo, Canada: Wilfrid Laurier University Press, 2005) ; Leigh Gilmore, The Limits of Autobiography: Trauma, Testimony, Theory (Ithaca, NY: Cornell University Press, 2000) ; and Paul Atkinson and Anna Poletti, eds., “The Limits of Testimony,” special issue, Southern Review: Communication, Politics & Culture 40, no. 3 (2008) .

65. G. Thomas Couser, Memoir: An Introduction (Oxford: Oxford University Press, 2012) ; Ben Yagoda, Memoir: A History (New York: Riverhead Penguin, 2009) ; and Bunty Avieson, Fiona Giles, and Sue Joseph, eds., Mediating Memory: Tracing the Limits of Memoir (London and New York: Routledge, 2018) .

66. Philippe Lejeune, On Diary , trans. Kathy Durnin, ed. Jeremy D. Popkin and Julie Rak (Honolulu: University of Hawai‘i Press, 2009) ; Lejeune, On Autobiography ; Françoise Simonet-Tenant, Le journal intime: Genre littéraire et écriture ordinaire (Paris: Téraèdre, 2004) ; and Suzanne L. Bunkers and Cynthia A. Huff, eds., Inscribing the Daily: Critical Essays on Women’s Diaries (Amherst: University of Massachusetts Press, 1996) .

67. Kadar, “Coming to Terms.”

68. Zachary Leader, ed., On Life-Writing (Oxford: Oxford University Press, 2015) ; Richard Bradford, ed., Life Writing: Essays on Autobiography, Biography and Literature (London: Palgrave Macmillan, 2009) ; Sidonie Smith and Julia Watson, Life Writing in the Long Run: A Smith & Watson Autobiography Studies Reader (Ann Arbor: Maize Books, 2017) ; Liz Stanley, ed., Documents of Life Revisited: Narrative and Biographical Methodology for a 21st Century Critical Humanism (Farnham, Surrey: Ashgate, 2013) ; Liz Stanley, ed., “In Dialogue: Life Writing and Narrative Inquiry,” special issue, Life Writing 7, no. 1 (2010) : 1–3; and James Olney, Memory and Narrative: The Weave of Life-Writing (Chicago: University of Chicago Press, 1999) .

69. Miriam Fuchs and Craig Howes, eds., Teaching Life Writing Texts , Options for Teaching (New York: Modern Language Association, 2008) ; Laurie McNeill and Kate Douglas, eds., “Teaching Lives: Contemporary Pedagogies of Life Narratives,” special issue, a/b: Auto/Biography Studies 32, no. 1 (2016) ; Laurie McNeill and Kate Douglas, eds., Teaching Lives: Contemporary Pedagogies of Life Narratives (London and New York: Routledge, 2018 ); Dennis Kersten and Anne Marie Mreijen, eds., “Teaching Life Writing Texts in Europe,” special section, European Journal of Life Writing 4 (2015) ; and Dennis Kersten, Anne Marie Mreijen, and Yvonne Delhey, eds., “Teaching Life Writing Texts in Europe, Part II,” special section, European Journal of Life Writing 7 (2018) .

70. Penny Summerfield, Histories of the Self: Personal Narratives and Historical Practice (London and New York: Routledge, 2018) ; Karen A. Winstead, The Oxford History of Life-Writing , vol. 1, The Middle Ages (Oxford: Oxford University Press, 2018) ; Alan Stewart, The Oxford History of Life-Writing , vol. 2, Early Modern (Oxford: Oxford University Press, 2018) ; David Amigoni, ed., Life Writing and Victorian Culture (Farnham, Surrey: Ashgate, 2006) ; Andrew Tate, ed., “Victorian Life Writing,” special issue, Nineteenth-Century Contexts 28, no. 1 (2006) : 1–3; and Lynn M. Linder, ed., “Co-Constructed Selves: Nineteenth-Century Collaborative Life Writing,” special issue, Modern Language Studies 52, no. 2 (2016) : 121–129.

71. Danielle Boillet, Marie-Madeleine Fragonard, and Hélène Tropé, eds., Écrire des vies: Espagne, France, Italie, XVIe–XVIIIe siècle (Paris: Sorbonne Nouvelle, 2012) ; and Birgit Dahlke, Dennis Tate, and Roger Woods, eds., German Life Writing in the Twentieth Century (Rochester, NY: Camden House, 2010) .

72. Cynthia Huff, ed., “Women’s Life Writing and Imagined Communities,” special issue, Prose Studies 26, nos. 1–2 (2003) ; Charlotte Newman Goldy and Amy Livingstone, eds., Writing Medieval Women’s Lives (London: Palgrave Macmillan, 2012 ); Julie A. Eckerle, Romancing the Self in Early Modern Englishwomen’s Life Writing (Farnham, Surrey: Ashgate, 2013) ; Julie A. Eckerle and Naomi McAreavey, eds., Women’s Life Writing and Early Modern Ireland , Women and Gender in the Early Modern World (Lincoln: University of Nebraska Press, 2019) ; Daniel Cook and Amy Culley, eds., Women’s Life Writing , 1700–1850: Gender, Genre and Authorship (London: Palgrave Macmillan, 2012) ; and Amy Culley, British Women’s Life Writing , 1760–1840: Friendship, Community, and Collaboration (London: Palgrave Macmillan, 2014) .

73. Susan Civale, Romantic Women’s Life Writing: Reputation and Afterlife (Manchester: Manchester University Press, 2019) ; Alexis Wolf, “Introduction: Reading Silence in the Long Nineteenth-Century Women’s Life Writing Archive,” 19: Interdisciplinary Studies in the Long Nineteenth Century 27 (2018) : unpaginated; Valérie Baisnée-Keay et al., eds., Women’s Life Writing and the Practice of Reading: She Reads to Write Herself , Palgrave Studies in Life Writing (London: Palgrave Macmillan, 2018) ; and Margaretta Jolly, In Love and Struggle: Letters in Contemporary Feminism (New York: Columbia University Press, 2008) .

74. Eric D. Lamore, ed., “African American Life Writing,” special issue, a/b: Auto/Biography Studies 27, no. 1 (2012) ; Viola Amato, Intersex Narratives: Shifts in the Representation of Intersex Lives in North American Literature and Popular Culture (Bielefeld: Transcript Verlag, 2016) ; and Katherine Adams, Owning Up: Privacy, Property, and Belonging in U.S. Women’s Life Writing (Oxford: Oxford University Press, 2009) .

75. Marijke Huisman et al., eds., Life Writing Matters in Europe , American Studies Monograph 217 (Heidelberg: Universitätsverlag Winter, 2012) ; Simona Mitroiu, ed., Life Writing and Politics of Memory in Eastern Europe (London: Palgrave Macmillan, 2015) ; and Iona Luca and Leena Kurvet-Käosaar, eds., “Life Writing Trajectories in Post-1989 Eastern Europe,” special section, European Journal of Life Writing 2 (2013) : T1–9.

76. Oliver Nyambi, Life-Writing from the Margins in Zimbabwe: Versions and Subversions of Crisis (London and New York: Routledge, 2019) ; David McCooey, Artful Histories: Modern Australian Autobiography (Cambridge: Cambridge University Press, 1996) ; Jack Bowers, Strangers at Home: Place, Belonging, and Australian Life Writing (Amherst, NY: Cambria, 2016) ; Brij V. Lal and Peter Hempenstall, eds., Pacific Lives, Pacific Places: Bursting Boundaries in Pacific History (Canberra: Journal of Pacific History, 2001) ; Jack Corbett and Brij V. Lal, eds., Political Life Writing in the Pacific: Reflections on Practice (Canberra: Australian National University Press, 2015) ; and Roxanna Waterson, ed., Southeast Asian Lives: Personal Narratives and Historical Experience (Athens: Ohio University Press, 2007) .

77. Hephzibah Israel and John Zavos, “Narratives of Transformation: Religious Conversion and Indian Traditions of ‘Life Writing,’” South Asia: Journal of South Asian Studies 41, no. 2 (2018) : 352–365; S. Shankar and Charu Gupta, “Caste and Life Narratives,” special issue, Biography: An Interdisciplinary Quarterly 40, no. 1 (2017) ; and Maureen Perkins, ed., Locating Life Stories: Beyond East-West Binaries in (Auto)Biographical Studies (Honolulu: University of Hawaiʻi Press, 2012) . My own essay on Martin Amis appears in this last collection.

78. Bart Moore-Gilbert, Postcolonial Life-Writing: Culture, Politics, and Self-Representation (London and New York: Routledge, 2009) ; Philip Holden, Autobiography and Decolonization: Modernity, Masculinity, and the Nation-State (Madison: University of Wisconsin Press, 2008) ; Gillian Whitlock, Postcolonial Life Narratives: Testimonial Transactions (Oxford: Oxford University Press, 2015) ; Suzanne Scafe and Jenni Ramone, eds., “Women’s Life Writing and Diaspora,” special issue, Life Writing 10, no. 1 (2013) : 1–3; Rocío G. Davis, Jaume Aurell, and Ana Beatriz Delgado, eds., Ethnic Life Writing and Histories: Genres, Performance, and Culture (Münster: LIT Verlag, 2007) ; and Rosalia Baena, ed., Transculturing Auto/Biography: Forms of Life Writing (London and New York: Routledge, 2007) .

79. Clare Brant and Max Saunders, eds., “The Work of Life Writing,” special issue, a/b: Auto/Biography Studies 25, no. 2 (2010) ; Paul John Eakin, ed., The Ethics of Life Writing (Ithaca, NY: Cornell University Press, 2004) ; David Parker, The Self in Moral Space: Life Narrative and the Good (Ithaca, NY: Cornell University Press, 2007) ; D. L. LeMahieu and Christopher Cowley, eds., “Philosophy and Life Writing,” special issue, Life Writing 15, no. 3 (2018) : 301–303; Rocío G. Davis, ed., “Life Writing as Empathy,” special issue, Concentric: Literary and Cultural Studies 42, no. 2 (2016) ; and Joan Ramon Resina, ed., Inscribed Identities: Life Writing as Self-Realization (London and New York: Routledge, 2019) .

80. G. Thomas Couser, Recovering Bodies: Illness, Disability, and Life Writing (Madison: University of Wisconsin Press, 1997) ; G. Thomas Couser, Vulnerable Subjects: Ethics and Life Writing (Ithaca, NY: Cornell University Press, 2003) ; G. Thomas Couser, Signifying Bodies: Disability in Contemporary Life Writing (Ann Arbor: University of Michigan Press, 2009) ; G. Thomas Couser, ed., “Disability and Life Writing,” special issue, Journal of Literary and Cultural Disability Studies 5, no. 3 (2011) ; G. Thomas Couser, ed., Body Language: Narrating Illness and Disability (London and New York: Routledge, 2019) ; and G. Thomas Couser and Susannah Mintz, eds., Disability Experiences: Memoirs, Autobiographies, and Other Personal Narratives , 2 vols. (Detroit: St. James Press, 2019) .

81. Suzette A. Henke, Shattered Subjects: Trauma and Testimony in Women’s Life-Writing (New York: St. Martin’s Press, 1998) ; Susanna Egan, Mirror Talk: Genres of Crisis in Contemporary Autobiography (Chapel Hill: University of North Carolina Press, 1999) ; Miriam Fuchs, The Text is Myself: Women’s Life Writing and Catastrophe (Madison: University of Wisconsin Press, 2004) ; Gilian Whitlock and Kate Douglas, eds., Trauma Texts (London and New York: Routledge, 2015) , first published as “Trauma in the Twenty-First Century,” Life Writing 5, no. 1 (2008); and Gabriele Rippl et al., eds., Haunted Narratives: Life Writing in an Age of Trauma (Toronto: University of Toronto Press, 2013) .

82. Meg Jensen, The Art and Science of Trauma and the Autobiographical: Negotiated Truths , Palgrave Studies in Life Writing (London: Palgrave, 2019) , quotation at 8; and Mita Banerjee, Medical Humanities in American Studies: Life Writing, Narrative Medicine, and the Power of Autobiography , American Studies Series 292 (Heidelberg: Universitätsverlag Winter, 2018) .

83. Kay Schaffer and Sidonie Smith, Human Rights and Narrated Lives: The Ethics of Recognition (London: Palgrave, 2004) ; Meg Jensen and Margaretta Jolly, eds., We Shall Bear Witness: Life Narratives and Human Rights (Madison: University of Wisconsin Press, 2014) ; Katja Kurz, Narrating Contested Lives: The Aesthetics of Life Writing in Human Rights Campaigns (Heidelberg: Universitätsverlag Winter, 2014) ; Melissa Dearey, Radicalization: The Life Writings of Political Prisoners (London and New York: Routledge, 2010) ; and Brittney Cooper and Treva B. Lindsey, eds., “M4BL and the Critical Matter of Black Lives,” special issue, Biography: An Interdisciplinary Quarterly 41, no. 4 (2018) : 731–740.

84. Marianne Hirsch, Family Frames: Photography, and Postmemory (Cambridge, MA: Harvard University Press, 1997) ; and Timonthy Dow Adams, Light Writing & Life Writing: Photography in Autobiography (Chapel Hill: University of North Carolina Press, 1999) .

85. Gillian Whitlock and Anna Poletti, eds., “Autographics,” special issue, Biography: An Interdisciplinary Quarterly 31, no. 1 (2008) ; Hillary L. Chute, Graphic Women: Life Narrative and Contemporary Comics (New York: Columbia University Press, 2010) ; and Hillary L. Chute, Disaster Drawn: Visual Witness, Comics, and Documentary Form (Cambridge MA.: Belknap Press of Harvard University Press, 2016) .

86. Michael A. Chaney, Reading Lessons in Seeing: Mirrors, Masks, and Mazes in the Autobiographical Graphic Novel (Jackson: University of Mississippi Press, 2017) ; Michael A. Chaney, ed., Graphic Subjects: Critical Essays on Autobiography and Graphic Novels (Madison: University of Wisconsin Press, 2011) ; Elisabeth El Refaie, Autobiographical Comics: Life Writing in Pictures (Jackson: University Press of Mississippi, 2012) ; and Candida Rifkind and Linda Warley, eds., Canadian Graphic: Picturing Life Narratives (Waterloo, Canada: Wilfrid Laurier University Press, 2016) .

87. Anna Poletti, Intimate Ephemera: Reading Young Lives in Australian Zine Culture (Melbourne: Melbourne University Press, 2008) ; Ellen Gruber Garvey, Writing with Scissors: American Scrapbooks from the Civil War to the Harlem Renaissance (Oxford: Oxford University Press, 2012) ; Hertha D. Sweet Wong, Picturing Identity: Contemporary American Autobiography in Image and Text (Chapel Hill: University of North Carolina Press, 2018) ; and Leigh Gilmore and Elizabeth Marshall, Witnessing Girlhood: Toward an Intersectional Tradition of Life Writing (New York: Fordham University Press, 2019) .

88. David McCooey and Maria Takolander, eds., “The Limits of Life Writing,” special issue, Life Writing 14, no. 3 (2017) ; David McCooey and Maria Takolander, eds., The Limits of Life Writing (London and New York: Routledge, 2018) ; Gillian Whitlock and G. Thomas Couser, eds., “(Post)Human Lives,” special issue, Biography: An Interdisciplinary Quarterly 35, no. 1 (2012) ; Purnima Bose and Laura E. Lyons, eds., “Life Writing and Corporate Personhood,” special issue, Biography: An Interdisciplinary Quarterly 37, no. 1 (2014) ; and Alfred Hornung and Zhao Baisheng, eds., Ecology and Life Writing (Heidelberg: Universitätsverlag Winter, 2013) .

89. John Zuern, ed., “Online Lives,” special issue, Biography: An Interdisciplinary Quarterly 26, no. 1 (2003) ; Laurie McNeill and John Zuern, eds., “Online Lives 2.0,” special issue, Biography: An Interdisciplinary Quarterly 38, no. 2 (2015) ; and Anna Poletti and Julie Rak, eds., Identity Technologies: Constructing the Self Online (Madison: University of Wisonsin Press, 2014) .

90. Emma Maguire, Girls, Autobiography, Media: Gender and Self-Mediation in Digital Economies , Palgrave Studies in Life Writing (London: Palgrave, 2018) ; and Kate Douglas and Anna Poletti, Life Narratives and Youth Culture: Representation, Agency and Participation (London: Palgrave Macmillan, 2016) .

91. George F. Custen, Bio/Pics: How Hollywood Constructed Public History (New Brunswick, NJ: Rutgers University Press, 1992) ; Glenn Man, ed., “The Biopic,” special issue, Biography: An Interdisciplinary Quarterly 23, no. 1 (2000) ; William H. Epstein and R. Barton Palmer, eds., Invented Lives, Imagined Communities: The Biopic and American National Identity (New York: SUNY Press, 2016) ; Dennis Bingham, Whose Lives Are They Anyway? The Biopic as Contemporary Film Genre (New Brunswick, NJ: Rutgers University Press, 2010) ; and Tom Brown and Belén Vidal, eds., The Biopic in Contemporary Film Culture , AFI Film Readers (London and New York: Routledge, 2014) .

92. Ryan Claycomb, Lives in Play: Autobiography and Biography on the Feminist Stage (Ann Arbor: University of Michigan Press, 2012) ; Victoria Kuttainen and Lindsay Simpson, eds., “Performing Lives,” special issue, LiNQ: Connected Writing and Scholarship 39, no. 1 (2012) , quotation from the editors’ “Introduction: Performing Lives,” 11–14, at 11; Clara Tuite, Lord Byron and Scandalous Celebrity (Cambridge: Cambridge University Press, 2014) ; Daniel Herwitz, The Star as Icon: Celebrity in the Age of Mass Consumption (New York: Columbia University Press, 2016) ; and Katja Lee and Lorraine York, eds., Celebrity Cultures in Canada (Waterloo, Canada: Wilfrid Laurier University Press, 2016) .

93. Max Saunders, Self-Impression: Life-Writing, Autobiografiction, and the Forms of Modern Literature (Oxford: Oxford University Press, 2010) ; Gunnthórunn Gudmundsdóttir, Representations of Forgetting in Life Writing and Fiction (London: Palgrave Macmillan, 2016) ; Martina Wagner-Egelhaaf, Handbook of Autobiography/Autofiction , 3 vols. (Berlin: De Gruyter, 2019) ; Erika Hasebe-Ludt, Cynthia M. Chambers, and Carl Leggo, Life Writing and Literary Métissage as an Ethos of Our Times (New York: Peter Lang, 2009) ; Lucia Boldrini and Julia Novak, eds., Experiments in Life-Writing: Intersections of Auto/Biography and Fiction , Palgrave Studies in Life Writing (London: Palgrave Macmillan, 2018) ; Jean-Louis Jeannelle and Catherine Viollet, eds., Genèse et autofiction (Paris: Academia-Bruylant, 2007) ; and Helena Grice, Asian American Fiction, History, and Life Writing: International Encounters (London and New York: Routledge, 2009) .

94. Michael Lackey, The American Biographical Novel (London: Bloomsbury, 2016) ; Michael Lackey, Truthful Fictions: Conversations with American Biographical Novelists (London: Bloomsbury, 2015) ; Michael Lackey, Conversations with Biographical Novelists: Truthful Fictions across the Globe (London: Bloomsbury, 2018) ; Michael Lackey, Biographical Fiction: A Reader (London: Bloomsbury, 2017) ; Michael Lackey, Biofictional Histories, Mutations, and Forms (London and New York: Routledge, 2016) ; and Michael Lackey, ed., “Biofictions,” special issue, a/b: Auto/Biography Studies 31, no. 1 (2016) .

95. Susanna Egan, Burdens of Proof: Faith, Doubt, and Identity (Waterloo, Canada: Wilfrid Laurier University Press, 2011) ; and Nancy K. Miller, “The Entangled Self: Genre Bondage in the Age of the Memoir,” PMLA 122, no. 2 (2007) : 537–548.

96. Kadar, “Coming to Terms.”

97. Lauren Berlant and Jay Prosser, “Life Writing and Intimate Publics: A Conversation with Lauren Berlant,” Biography: An Interdisciplinary Quarterly 34, no. 1 (2011) : 180–187, at 183.

98. Berlant and Prosser, “Life Writing and Intimate Publics,” 182.

99. Berlant and Prosser, “Life Writing and Intimate Publics,” 181.

100. Marlen Kadar, “The Devouring: Traces of Roma in the Holocaust; No Tattoo, Sterilized Body, Gypsy Girl,” in Kadar et al., Tracing the Autobiographical , 223–246, at 223–224.

101. Kadar, “The Devouring,” 243. On the fragment as “an unfinished separation” Kadar is citing Maurice Blanchot, The Writing of the Disaster , trans. Ann Smock (Lincoln: University of Nebraska Press, 1986) .

102. Kadar, “The Devouring,” 226.

103. Kadar, “Whose Life Is It Anyway?,” quotations at 153.

Related Articles

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Home » Writing » Autobiography vs. Biography vs. Memoir

What is a Biography?

A biography, also called a bio, is a non-fiction piece of work giving an objective account of a person’s life. The main difference between a biography vs. an autobiography is that the author of a biography is not the subject. A biography could be someone still living today, or it could be the subject of a person who lived years ago.

Biographies include details of key events that shaped the subject’s life, and information about their birthplace, education, work, and relationships. Biographers use a number of research sources, including interviews, letters, diaries, photographs, essays, reference books, and newspapers. While a biography is usually in the written form, it can be produced in other formats such as music composition or film.

If the target person of the biography is not alive, then the storytelling requires an immense amount of research. Interviews might be required to collect information from historical experts, people who knew the person (e.g., friends and family), or reading other older accounts from other people who wrote about the person in previous years. In biographies where the person is still alive, the writer can conduct several interviews with the target person to gain insight on their life.

The goal of a biography is to take the reader through the life story of the person, including their childhood into adolescence and teenage years, and then their early adult life into the rest of their years. The biography tells a story of how the person learned life’s lessons and the ways the person navigated the world. It should give the reader a clear picture of the person’s personality, traits, and their interaction in the world.

Biographies can also be focused on groups of people and not just one person. For example, a biography can be a historical account of a group of people from hundreds of years ago. This group could have the main person who was a part of the group, and the author writes about the group to tell a story of how they shaped the world.

Fictional biographies mix some true historical accounts with events to help improve the story. Think of fictional biographies as movies that display a warning that the story is made of real characters, but some events are fictional to add to the storyline and entertainment value. A lot of research still goes into a fictional biography, but the author has more room to create a storyline instead of sticking to factual events.

Examples of famous biographies include:

• His Excellency: George Washington  by Joseph J. Ellis
• Einstein: The Life and Times  by Ronald William Clark
• Princess Diana – A Biography of The Princess of Wales  by Drew L. Crichton

What is an Autobiography?

An autobiography is the story of a person’s life written by that person. Because the author is also the main character of the story, autobiographies are written in the first person. Usually, an autobiography is written by the person who is the subject of the book, but sometimes the autobiography is written by another person. Because an autobiography is usually a life story for the author, the theme can be anything from religious to a personal account to pass on to children.

The purpose of an autobiography is to portray the life experiences and achievements of the author. Therefore, most autobiographies are typically written later in the subject’s life. It’s written from the point of view of the author, so it typically uses first person accounts to describe the story.

An autobiography often begins during early childhood and chronologically details key events throughout the author’s life. Autobiographies usually include information about where a person was born and brought up, their education, career, life experiences, the challenges they faced, and their key achievements.

On rare occasions, an autobiography is created from a person’s diary or memoirs. When diaries are used, the author must organize them to create a chronological and cohesive story. The story might have flashbacks or flashforwards to describe a specific event, but the main storyline should follow chronological order from the author’s early life to their current events.

One of the main differences between an autobiography vs. a biography is that autobiographies tend to be more subjective. That’s because they are written by the subject, and present the facts based on their own memories of a specific situation, which can be biased. The story covers the author’s opinions on specific subjects and provides an account of their feelings as they navigate certain situations. These stories are also very personal because it’s a personal account of the author’s life rather than a biography where a third party writes about a specific person.

Examples of famous autobiographies include:

• The Story of My Life  by Helen Keller
• The Diary of a Young Girl  by Anne Frank
• Losing My Virginity  by Richard Branson

What is a Memoir?

Memoir comes from the French word  mémoire , meaning memory or reminiscence. Similar to an autobiography, a memoir is the story of a person’s life written by that person. These life stories are often from diary entries either from a first-person account or from a close family member or friend with access to personal diaries.

The difference between a memoir vs. an autobiography is that a memoir focuses on reflection and establishing an emotional connection, rather than simply presenting the facts about their life. The author uses their personal knowledge to tell an intimate and emotional story about the private or public happenings in their life. The author could be the person in the story, or it can be written by a close family member or friend who knew the subject person intimately. The topic is intentionally focused and does not include biographical or chronological aspects of the author’s life unless they are meaningful and relevant to the story.

Memoirs come in several types, all of which are written as an emotional account of the target person. They usually tell a story of a person who went through great struggles or faced challenges in a unique way. They can also cover confessionals where the memoir tells the story of the author’s account that contradicts another’s account.

This genre of writing is often stories covering famous people’s lives, such as celebrities. In many memoir projects, the celebrity or person of interest needs help with organization, writing the story, and fleshing out ideas from the person’s diaries. It might take several interviews before the story can be fully outlined and written, so it’s not uncommon for a memoir project to last several months.

Memoirs do not usually require as much research as biographies and autobiographies, because you have the personal accounts in diary entries and documents with the person’s thoughts. It might require several interviews, however, before the diary entries can be organized to give an accurate account on the person’s thoughts and emotions. The story does not necessarily need to be in chronological order compared to an autobiography, but it might be to tell a better story.

Examples of famous memoirs include:

• Angela’s Ashes  by Frank McCourt
• I Know Why the Caged Bird Sings  by Maya Angelou
• Personal Memoirs of Ulysses S.  Grant by Ulysses S. Grant

Autobiography vs. Biography vs. Memoir Comparison Chart

Check out some of our blogs to learn more about memoirs:

• What is a memoir?
• 5 tips for writing a memoir
• Your memoir is your legacy

Ready to get started on your own memoir, autobiography, or biography? Download our free desktop book-making software, BookWright .

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What Is an Autobiography?

What to Consider Before You Start to Write

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Your life story, or autobiography , should contain the basic framework that any essay should have, with four basic elements. Begin with an introduction that includes a thesis statement , followed by a body containing at least several paragraphs , if not several chapters. To complete the autobiography, you'll need a strong conclusion , all the while crafting an interesting narrative with a theme.

Did You Know?

The word autobiography  literally means SELF (auto), LIFE (bio), WRITING (graph). Or, in other words, an autobiography is the story of someone's life written or otherwise told by that person.

When writing your autobiography, find out what makes your family or your experience unique and build a narrative around that. Doing some research and taking detailed notes can help you discover the essence of what your narrative should be and craft a story that others will want to read.

Research Your Background

Just like the biography of a famous person, your autobiography should include things like the time and place of your birth, an overview of your personality, your likes and dislikes, and the special events that shaped your life. Your first step is to gather background detail. Some things to consider:

• What is interesting about the region where you were born?
• How does your family history relate to the history of that region?
• Did your family come to that region for a reason?

It might be tempting to start your story with "I was born in Dayton, Ohio...," but that is not really where your story begins. It's better to start with an experience. You may wish to start with something like why you were born where you were and how your family's experience led to your birth. If your narrative centers more around a pivotal moment in your life, give the reader a glimpse into that moment. Think about how your favorite movie or novel begins, and look for inspiration from other stories when thinking about how to start your own.

Think About Your Childhood

You may not have had the most interesting childhood in the world, but everyone has had a few memorable experiences. Highlight the best parts when you can. If you live in a big city, for instance, you should realize that many people who grew up in the country have never ridden a subway, walked to school, ridden in a taxi, or walked to a store a few blocks away.

On the other hand, if you grew up in the country you should consider that many people who grew up in the suburbs or inner city have never eaten food straight from a garden, camped in their backyards, fed chickens on a working farm, watched their parents canning food, or been to a county fair or a small-town festival.

Something about your childhood will always seem unique to others. You just have to step outside your life for a moment and address the readers as if they knew nothing about your region and culture. Pick moments that will best illustrate the goal of your narrative, and symbolism within your life.

Consider Your Culture

Your culture is your overall way of life , including the customs that come from your family's values and beliefs. Culture includes the holidays you observe, the customs you practice, the foods you eat, the clothes you wear, the games you play, the special phrases you use, the language you speak, and the rituals you practice.

As you write your autobiography, think about the ways that your family celebrated or observed certain days, events, and months, and tell your audience about special moments. Consider these questions:

• What was the most special gift you ever received? What was the event or occasion surrounding that gift?
• Is there a certain food that you identify with a certain day of the year?
• Is there an outfit that you wear only during a special event?

Think honestly about your experiences, too. Don't just focus on the best parts of your memories; think about the details within those times. While Christmas morning may be a magical memory, you might also consider the scene around you. Include details like your mother making breakfast, your father spilling his coffee, someone upset over relatives coming into town, and other small details like that. Understanding the full experience of positives and negatives helps you paint a better picture for the reader and lead to a stronger and more interesting narrative. Learn to tie together all the interesting elements of your life story and craft them into an engaging essay.

Establish the Theme

Once you have taken a look at your own life from an outsider’s point of view, you will be able to select the most interesting elements from your notes to establish a theme. What was the most interesting thing you came up with in your research? Was it the history of your family and your region? Here is an example of how you can turn that into a theme:

"Today, the plains and low hills of southeastern Ohio make the perfect setting for large cracker box-shaped farmhouses surrounded by miles of corn rows. Many of the farming families in this region descended from the Irish settlers who came rolling in on covered wagons in the 1830s to find work building canals and railways. My ancestors were among those settlers."

A little bit of research can make your own personal story come to life as a part of history, and historical details can help a reader better understand your unique situation. In the body of your narrative, you can explain how your family’s favorite meals, holiday celebrations, and work habits relate to Ohio history.

One Day as a Theme

You also can take an ordinary day in your life and turn it into a theme. Think about the routines you followed as a child and as an adult. Even a mundane activity like household chores can be a source of inspiration.

For example, if you grew up on a farm, you know the difference between the smell of hay and wheat, and certainly that of pig manure and cow manure—because you had to shovel one or all of these at some point. City people probably don’t even know there is a difference. Describing the subtle differences of each and comparing the scents to other scents can help the reader imagine the situation more clearly.

If you grew up in the city, you how the personality of the city changes from day to night because you probably had to walk to most places. You know the electricity-charged atmosphere of the daylight hours when the streets bustle with people and the mystery of the night when the shops are closed and the streets are quiet.

Think about the smells and sounds you experienced as you went through an ordinary day and explain how that day relates to your life experience in your county or your city:

"Most people don’t think of spiders when they bite into a tomato, but I do. Growing up in southern Ohio, I spent many summer afternoons picking baskets of tomatoes that would be canned or frozen and preserved for cold winter’s dinners. I loved the results of my labors, but I’ll never forget the sight of the enormous, black and white, scary-looking spiders that lived in the plants and created zigzag designs on their webs. In fact, those spiders, with their artistic web creations, inspired my interest in bugs and shaped my career in science."

One Event as a Theme

Perhaps one event or one day of your life made such a big impact that it could be used as a theme. The end or beginning of the life of another can affect our thoughts and actions for a long time:

"I was 12 years old when my mother passed away. By the time I was 15, I had become an expert in dodging bill collectors, recycling hand-me-down jeans, and stretching a single meal’s worth of ground beef into two family dinners. Although I was a child when I lost my mother, I was never able to mourn or to let myself become too absorbed in thoughts of personal loss. The fortitude I developed at a young age was the driving force that would see me through many other challenges."

Writing the Essay

Whether you determine that your life story is best summed up by a single event, a single characteristic, or a single day, you can use that one element as a theme . You will define this theme in your  introductory paragraph .

Create an outline with several events or activities that relate back to your central theme and turn those into subtopics (body paragraphs) of your story. Finally, tie up all your experiences in a summary that restates and explains the overriding theme of your life. 

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What Is a Conclusion Sentence for an Autobiography?

25 jun 2018.

Writing about your own experiences can be a revealing and rewarding experience. Many teachers find it beneficial to assign autobiographical essays to their students. The conclusion of an autobiographical essay is one of the most essential elements, and by examining the key components of a successful conclusion it’s clear what type of sentences are included. A conclusion does not have to be confined to a single sentence. It can summarize the main theme of the paper, capture the main points, and leave the reader with a lasting impression.

Explore this article

1 reflection.

The sentences included in the body of an autobiography essay are mostly reserved for detailed accounts of particularly significant moments and situations in the author’s life. The conclusion provides a chance for you to reflect on such situations. Many conclusion sentences in an autobiography essay are reserved for reflection. For example, if in the body of your essay you discuss your friendship with a woman who went off to war, your conclusion will include sentences that reflect on how the situation impacted your life and outlook.

2 Importance

Even though the entire autobiographical essay focuses on important situations and moments from your life, the conclusion offers a chance to hammer home why the topics focused on in the body of your essay have significance. Conclusion sentences reveal exactly why your focus situations are so important. For example, if you discuss the last day of your undergraduate education in the body of your essay, several sentences in your conclusion will reiterate why that day changed you fundamentally as a person.

Conclusion sentences in an autobiography essay are clear, concise and constructed with economy as a main objective. This is in contrast to the body of the paper, which has more depth and is artistic, in nature. If your reader is left confused by conclusion sentences that are choppy or ambiguous, they will walk away with a under-developed understanding of the essay. Use conclusion sentences to re-iterate key concepts and thoughts with blinding clarity.

A successful autobiographical account will reveal the writer’s conception of how he or she has lived. Several conclusion sentences are reserved for bringing closure to the holistic essay. A conclusion brings closure to the essential purpose of the essay and will include sentences that re-examine and clarify important situations from the body of the essay. It will also connect the reader to the meaningful intent of the autobiographical essay, as a whole.

• 1 San Mateo County Community College: Autobiography
• 2 University of North Carolina: Tips & Tools

About the Author

Jake Shore is an award-winning Brooklyn-based playwright, published short story writer and professor at Wagner College. His short fiction has appeared in many publications including Litro Magazine, one of London's leading literary magazines. Shore earned his MFA in creative writing from Goddard College.

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How To Write An Autobiography Essay?

Table of contents

• 1 What Is an Autobiography?
• 2.1 Traditional Autobiography
• 2.3 Intellectual Autobiography
• 2.4 Spiritual Autobiography
• 2.5 Confessional Autobiography
• 2.6 Therapeutic Autobiography
• 2.7 Fictionalized Autobiography
• 3.1 What Structuring Approach to Choose?
• 3.2 Thematic Order
• 3.3 Reverse Chronological Order
• 3.4 Flashback or Non-Linear Narrative
• 3.5 Circular Narrative
• 3.6 Epistolary Format
• 4 How to Structure an Autobiography Essay?
• 5 How to Title an Autobiography Essay?
• 6.1 Identifying Key Life Events
• 6.2 Theme and Narrative Arc
• 6.3 Balancing Facts and Reflections
• 6.4 Enhancing Your Essay with Dialogues
• 6.5 Connecting to the Reader
• 6.6 Honesty and Vulnerability
• 7 Examples of Autobiography
• 8 Bottom Line

When you start writing an autobiography essay, it simultaneously opens doors to your past, present, and future. Indeed, it’s an opportunity to delve into your experiences, emotions, and reflections, weaving them into a compelling narrative that resonates with readers. Whether you’re a seasoned writer or new to personal storytelling, the task may seem daunting. However, composing your life’s narrative can be enriching and fulfilling with the right approach.

In this article, you will find answers:

• What types of autobiography essays exist;
• How to write an autobiography;
• What is the basic essay about yourself.

Let’s embark on this transformative journey together, unlocking the art of autobiographical storytelling.

What Is an Autobiography?

• Definition and purpose: An autobiography essay is a narrative account of one’s life, exploring significant events, experiences, and reflections. Its purpose varies from personal self-reflection to academic assignments, memoir writing, or sharing insights with a broader audience. Thus, storytelling aims to convey a deeper understanding of oneself and the journey traversed.
• Audience Consideration: Knowing your audience is paramount to crafting an effective autobiographical essay. Consider whether you’re writing for academic evaluation, personal introspection, or professional sharing. Besides, tailoring your narrative to suit your audience’s expectations, interests, and background enhances engagement and ensures your message resonates effectively.
• Tone and Style: An autobiography essay’s choice of tone and style depends on its purpose and audience. First, consistency is key to adopting a formal, informal, or narrative tone. Also, reflect on the mood you wish to convey and the emotions associated with your experiences. It helps connect with readers and immerse them in your narrative journey.
• Reflective Writing: Integrating personal reflections is at the heart of an autobiography essay. It involves introspection, analysis, and interpretation of life events through analogy , highlighting their significance in shaping one’s identity and worldview. Moreover, reflective writing adds depth and authenticity to your narrative, fostering a deeper understanding of oneself and fostering empathy among readers.

Essentially, an essay is your honest dialogue with the readers. To add more engagement, sometimes, you can use an informal style . This way, you can connect with the readers using a conversational tone and no specific structure ─ only your ideas and reflections.

Autobiography Types

The captivating allure of autobiographical writing lies in its intimate exploration of lived experiences. But within this seemingly singular genre, a vibrant tapestry of distinct “essay types” exists, each offering unique approaches to self-narration and ways to start an autobiography. Let’s unravel the threads of these captivating forms:

Traditional Autobiography

This type of personal autobiography tells us the story from birth to the present, typically chronologically. It delves into various facets of the author’s life, including childhood, family, education, career, relationships, and significant life events. Additionally, its breadth offers a panoramic view of the author’s journey, providing readers with a thorough understanding of their life story.

More focused than a traditional autobiography of yourself, a memoir centers around a specific theme, period, or aspect of the author’s life. It emphasizes personal reflections, emotions, and insights over a strict chronological recounting of events. By honing in on particular experiences, memoirs offer deeper insights into the author’s psyche and the lessons learned from pivotal moments.

Intellectual Autobiography

This genre focuses on the evolution of the author’s thoughts, beliefs, and intellectual pursuits. It explores how various experiences, books, and interactions have shaped the author’s worldview and philosophy. Thus, academic philosophers or thinkers often penned intellectual autobiographies, offering readers a profound journey through the author’s intellectual growth.

Spiritual Autobiography

This genre may involve experiences of conversion, enlightenment, or a deepening of faith. While common in religious contexts, spiritual autobiographies can also encompass non-religious spiritual experiences, providing readers with insights into the author’s quest for meaning and transcendence. Don’t forget about the topic sentence as well.

Confessional Autobiography

This genre focuses on confessing and reflecting upon personal mistakes, struggles, or failures. Accordingly, it often adopts a tone of redemption or lessons learned. Besides, confessional autobiographies can be cathartic for the author and inspirational for readers navigating challenges. Thus, if you want to motivate readers to overcome some difficulties, you can write an autobiography about yourself and offer readers glimpses into the author’s vulnerabilities and triumphs.

Therapeutic Autobiography

Therapeutic autobiographies involve writing about traumatic or significant life events to process and understand them better. While not always intended for publication, these narratives serve as a means of personal growth and healing, empowering authors to reclaim their narratives, find solace in storytelling, and hook a reader.

Fictionalized Autobiography

This genre draws inspiration from the author’s life but incorporates fictional elements, altered events, or imagined characters. Indeed, fictionalized autobiographies offer creative freedom and allow authors to explore themes that might be difficult to address directly, providing a captivating blend of truth and imagination.

Need help with essay writing? Get your paper written by a professional writer Get Help Reviews.io 4.9/5

Composing an Autobiography About Myself Essay Outline

Crafting an essay structure provides a roadmap for students to a comprehensive autobiographical essay outline. Moreover, it helps organize thoughts and ensures a cohesive narrative flow.

What Structuring Approach to Choose?

Choosing the right essay outline approach while writing an autobiography about yourself is crucial. While chronological order is straightforward, other methods like thematic or narrative structures offer unique perspectives and deeper insights into your life story.

Thematic Order

Writing an autobiography around central themes or subjects rather than time is the simplest way to create an autobiography essay. For example, if you’ve had a life-long passion for music, you could structure your story around music’s role at different stages of your life. Consequently, this approach allows you to delve deeply into how specific themes have influenced your development and worldview. If you need some help with the beginning, find hook examples .

Reverse Chronological Order

If you want to make your essay more engaging, you can use this method. Accordingly, write an autobiography starting from the present and working backward. It can be intriguing as it starts with who you are now and gradually reveals how you got there. For instance, you could begin with your current career achievements and then trace back to your education and early influences. Thus, this method can create suspense and a sense of discovery for the reader.

Flashback or Non-Linear Narrative

This method will help you to create a nonstandard essay. For example, when you write an autobiography essay, begin with a significant event and then use flashbacks to provide context and background. It can create a dramatic effect and draw readers in by immediately immersing them in a pivotal moment. After the initial event, you can jump around in time to slowly unravel the story and its implications.

Circular Narrative

Another way to make an engaging essay is by using a circular narrative approach when you plan your essay . For example, students who start and end with the same scene or theme create a circular journey. Thus, this technique can emphasize personal growth or resolving crucial life challenges. For instance, you might start with a scene of you running in a marathon, then recount how you became a runner, and conclude with the same marathon scene, now imbued with deeper meaning. Besides, you can find more autobiography examples for students on the Internet.

Epistolary Format

You may think that this method is only suitable for fiction books. However, it works just as well with autobiographical student essays. For this purpose, try to write your life story through letters, diary entries, or emails. It can provide a personal and intimate feel, and the chronological order can be varied to convey your story best. If you need help, you can always order essay online .

How to Structure an Autobiography Essay?

When you Google: “ autobiography of myself as a student, ” you can find the answer varies depending on the individual’s experiences and storytelling style. However, the following autobiography format is commonly used among students.

The “autobiography about yourself” format is simple and similar to any other type of essay. There are no strict limitations or requirements, but certain considerations should be considered.

Each body paragraph should focus on one event or story, maintaining a clear and well-structured path through the paper. Moreover, providing details and writing with clarity is essential, as readers need background information, context, and character relationships to engage fully.

Although not strictly chronological, the essay should have a logical structure, allowing retrospections and flashbacks to flow smoothly. Transitioning between paragraphs should be seamless to maintain coherence and clarity.

Introduction:

Crafting an engaging introduction sets the tone for the essay and presents the thesis, or central theme. Accordingly, it should capture the reader’s attention and provide a glimpse into the unfolding story. Thus, start an autobiography essay with interesting facts about yourself.

Body Paragraphs:

Structuring body paragraphs involves developing the narrative, providing vivid details, and ensuring coherence. For this purpose, each paragraph should contribute to the overarching story while focusing on the chosen themes or events.

Transitions:

If you use transitions between different stages or events in the story when writing an autobiographical essay, the essay becomes flow and coherent. Likewise, transition words and phrases help guide readers through the narrative, ensuring a seamless reading experience.

Autobiography conclusion:

To end an autobiography, you must summarize the main autobiography ideas presented in the essay and may offer insights or reflections on the author’s experiences. It should be concise and impactful, leaving a lasting impression on the reader.

While these components are typical of autobiographical writing, the order and emphasis may vary depending on the author’s preferences and storytelling approach. Ultimately, the goal is to create a cohesive autobiography narrative that engages readers and offers insight into the author’s life journey.

After writing, you need to revise and polish the essay . Also, don’t forget about punctuation rules .

How to Title an Autobiography Essay?

In autobiography writing, there are no rules for beginning at a certain point; some students prefer to write the title first, and others leave the tasks to the end. How to begin an autobiographical essay depends on the writer, but one of the most important things, regardless of its order, is a good title.

The key points to consider when titling an autobiography are:

• Keeping the title short and precise.
• Make it as engaging as possible.
• Don’t include every keyword you chose in this part.

Some good title examples are:

• The Moment That Changed It All.
• My First Day at the Office Taught Me 4 Things.
• Surviving College.

Tips on Writing Autobiographical Essay

Crafting a compelling autobiographical essay requires careful consideration and skillful storytelling. Here are some tips to help you navigate the process and create a captivating narrative that resonates with readers.

Identifying Key Life Events

Identify key events or periods that have shaped who you are today. These could be moments of triumph, struggle, growth, or transformation. For this purpose, choose events that are significant to your personal development and contribute to the overarching narrative of your story.

Theme and Narrative Arc

Find a central theme or narrative arc that ties your story together. It could be a journey of self-discovery, resilience in the face of adversity, or pursuing a lifelong passion. Thus, a clear theme will help guide your storytelling and give your essay depth and coherence.

Balancing Facts and Reflections

Strike a balance between storytelling and personal reflections. While providing factual details and descriptions is important, remember to infuse your narrative with insights and reflections that add depth and meaning to your experiences. As a rule, you should use storytelling techniques such as vivid imagery, sensory details, and emotional resonance to bring your story to life.

Enhancing Your Essay with Dialogues

Consider incorporating dialogues into your narrative to add authenticity and depth. No doubt, dialogues can bring characters to life, provide insight into relationships, and create moments of tension or intimacy. Use dialogues sparingly and strategically to enhance the overall impact of your essay.

Connecting to the Reader

Make your story relatable and engaging by connecting with the reader personally. For instance, share universal truths, emotions, and experiences that resonate with a broader audience. Plus, use descriptive language, vivid anecdotes, and heartfelt reflections to draw readers into your world and make them feel invested in your journey.

Honesty and Vulnerability

Be honest and vulnerable in your narrative, openly sharing your triumphs and struggles. Accordingly, you can embrace vulnerability as a strength, not a weakness, and show humility in recounting your experiences. Besides, authenticity fosters empathy and connection with readers, making your story more impactful and memorable.

Examples of Autobiography

Reading other autobiographies can provide valuable insights into various narrative techniques, styles, and content choices. By exploring how different authors have structured their life stories, you can gain inspiration for your autobiography. For instance, “The Diary of a Young Girl” by Anne Frank offers a poignant perspective through diary entries, while “Long Walk to Freedom” by Nelson Mandela provides a comprehensive look at political struggle and personal growth.

Other notable examples of autobiographies:

• “Dreams from My Father” by Barack Obama: A memoir by the former U.S. President exploring his early years, his journey of racial identity, and his start in politics.
• “A Moveable Feast” by Ernest Hemingway: Hemingway’s memoir of his years as a young writer in Paris in the 1920s, filled with insights into his creative process and portraits of other famous contemporaries.
• “Educated” by Tara Westover: A recent memoir that has gained significant attention, it tells the story of Westover’s upbringing in a strict and abusive household in rural Idaho, her self-education, and her eventual escape to study at Cambridge and Harvard.
• “Angela’s Ashes” by Frank McCourt: A Pulitzer Prize-winning memoir detailing McCourt’s impoverished childhood in Ireland and his family’s struggles with poverty and alcoholism.

Bottom Line

When you write an autobiography about yourself, you must reflect on the key takeaways. Thus, embracing authenticity, selecting significant life events, and weaving them into a cohesive narrative is paramount. Your story becomes compelling and relatable by finding a central theme or narrative arc, balancing facts with reflections, and connecting with readers personally. Additionally, honesty and vulnerability are your allies in engaging readers and leaving a lasting impact. Therefore, conclude an autobiography with these insights and embark on your journey of self-discovery through storytelling, knowing that your autobiographical essays for college can inspire and resonate with others. Feel free to use a professional essay service if you need some help with the essay.

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Author : Caroline Chartrand

31st May 2023

Biography vs Autobiography: Differences and Features

When reading about someone’s life, you probably wonder if it is a biography or an autobiography. In this blog, we will compare biography vs autobiography. Also, we will explain the difference between autobiography and biography.

If we tell you in simple words, a biography is the life story of a person written by someone else. On the other hand, an autobiography is the life story of a person written by themselves.

Autobiographies have more personal nature as they are based on the writers’ own thoughts and memories. On the other hand, biographies are more objective, as they are written with the help of others’ opinions and perspectives.

What is a Biography?

A biography, or you can call it a bio, is a written piece of someone’s life. It does not just contain basic info about the subject, but the experiences of them throughout their lives. It sheds light on various aspects of the subject’s life. For example:

• Personal details
• Family background
• Life events
• Achievements
• Triumphs in their field and their impact on the world

Biography Examples

Let’s have a look at some examples of famous biographies:

1- Steve Jobs

Steve Jobs is an authorized biography. The subject of the book Steve Jobs himself requested the author Walter Isaacson to write the story about him. Walter is also famous for biographical works like Benjamin Franklin and Albert Einstein.

2- Into the Wild

It is a nonfiction book based on the life of a young man who abandoned his life and disappeared into the wild. The author of this biographical story is Jon Krakauer.

What is an Autobiography?

An autobiography, informally called an autobio, is a biography of one’s own written by themselves. It is based on the memory of the writer. It generally enlightens the below aspects of the subject:

• Life description
• Meaning of life
• Significant experiences
• Personal failure
• Plans for future

Autobiography Examples

Let’s have a look at some of the autobiographical works:

1- I am Malala

The autobiography “I am Malala: The Story of the Girl Who Stood Up for Education was Shot by the Taliban” is the story of Malala. It was co-written by Christina Lamb.

2- Long Walk to Freedom

It is a biography of Nelson Mandela, ghostwritten by Richard Stengel. The book portrays his story from his early life to his years in prison.

Biography vs Autobiography: The Key Differences

While biographies and autobiographies are somehow similar, there are several contrasts between them. Let’s take a look at how they are different from each other.

You can find the difference between a biography and an autobiography by recognizing who writes it. A biography is always written by someone else other than the subject. Whereas in an autobiography, the subject of the story writes it themselves.

2- Point of View

A biography follows the third-person point of view. It uses “He, Him, His, She, Her, Hers.” In contrast, an autobiography follows the first-person point of view. It utilizes “I, Me, My” as the pronouns.

3- Authorized vs Unauthorized

If a story is written with the permission of the person, it will be an authorized work. Otherwise, it will be unauthorized because it is written without the consent of the person.

4- Authencity

An autobiography will be more authentic than a biography. An autobiography writer usually recalls his events and narrates his own experiences. On the other hand, biography writers gather info through different sources and by talking and interviewing various people. As a result, the input can differentiate from the reality.

5- Neutrality

Autobiographies can be more biased than biographies. The neutrality of the biographies can depend on the intent. Some writers can show themselves as more genuine than they are in reality in their autobiographies. However, when it comes to biographies, they can either go mild or extreme in talking about the subject.

Biography vs Autobiography: Similar Features

Autobiographies are basically a type of biographies. Therefore, they share some common elements. Let’s take a look.

Biographies, whether of someone else or of the writer, have the same purpose of telling people the story of their life.

The genre of biographies is always nonfiction. A biography can not be a piece of fiction. If it is, it will fall under the category of a biographical novel.

The subject of biographies will always be famous people. The people who have achieved something in their life. For example, historical figures, celebs, political leaders, athletes, etc.

How to Write a Biography?

To write a biography , you can follow the below steps:

1- Get Permission

The first step to take in biography writing is to get the permission of the subject. In some conditions, it is not necessary. For example, if the subject is not alive anymore. However, if you have their consent, it will be helpful in your research, and the writing process will be easier. Also, the subject will give you some details by themselves that you may not have acquired without their permission.

2- Do Research

Research is necessary for biography writing. If you don’t have a sufficient amount of info about the subject, you can not compile a book about them. Therefore, you have to collect data and interview people as much as possible.

3- Write the Biography

The next step is to convert your research into words. Suppose you don’t have time or ability to write. In that case, you can acquire ghostwriting services . It can help you create content for your book.

4- Format the Book

When you are done completing your written work, it’s time for book formatting . Most of the time, biographies follow chronological order. However, you can also follow a non-chronological order based on your preference.

5- Promote your Work

Your work will not find the right audience if you don’t advertise it well. Therefore, you should promote your biographical work effectively. For this, you can also benefit from book marketing services .

To learn more about what is a biography ? And how can you write one? You can read our blog.

How to Write an Autobiography?

Let’s have a look at tips on writing an autobiography:

1- Brainstorm Ideas

Begin with revisiting all the memories and events that happened in your life. Look for ideas you can talk about in your book. Also, consider both the positives and negatives so you can create unique content that attracts readers.

2- Create an Outline

Outlining helps you organize your content. Therefore, start your work by creating an outline. It will help the flow of the story; as a result, the reader will quickly understand the story.

3- Write the Autobiography

Autobiography books usually are written in the own voice of the subject. So, use first-person voice as you are speaking directly to the readers. Also, start with a solid intro, use anecdotes, and provide vivid details.

If you are also going for a digital version of your biographical book, you can have ebook writing services at your disposal. They can be handy in writing and also editing, and polishing your work.

4- Publishing the Book

The most challenging task to do after you have your story written is to publish it. High are the chances that you will need help regarding the publishing process, whether you are going for traditional publishing or you want to publish it yourself. It is where you can get in touch with a self-publishing company . The rest of the tasks to complete are on them.

You should also advertise your work so as many people as possible read your story. You can publish and market your work on various platforms. However, the best way to promote your story is through your author’s website. If you don’t have your own website, you can obtain author website design services and have your website showcasing your literary works.

Want to learn more? Read our detailed blog about what is an autobiography . Here you will get to know the “Autobiography Definition, Examples, & Writing Guide for 2024.”

Memoir vs Autobiography

After you know what’s the contrast and similarity between biography vs autobiography. Let’s look at the difference and similarities between a memoir vs an autobiography.

1- Memoir vs Autobiography: The Similarity

If we talk about memoir vs autobiography , they both are accounts of the writer’s life. Also, writers use the first-person point of view in both.

2- Memoir vs Autobiography: The Difference

In an autobiography, the writer talks about his whole life. Whereas, in a memoir, writers cover a small part of their life or tell an interesting or particular memory of their life.

Want to know more? Read our blog on what is a memoir.

What are the Two Types of Biography?

There are three types of biography, not two. They are:

• Autobiography

Why are Biographies Better than Autobiography?

Biographies are more neutralistic than autobiographies. Also, they tend to be less biased than autobiographies.

Is Autobiography Written in First?

Yes, autobiographies are written in the first-person point of view since they are written by the subject themselves.

Why is an Autobiography Called an Autobiography?

The words Auto, Bios, and Graphein came from Ancient Greek. Their meaning is “Self,” “Life,” and “To Write,” respectively.

After reading this blog, you will have a grasp of the difference between biography vs autobiography. Also, you will know what they are composed of. Learning this will help you when you write your biographical books. In addition, if you still need assistance in writing, you can ask Authors Breeze for their services.

Caroline Chartrand

As a writing expert, Caroline R Chartrand has written numerous books across various genres, from memoirs to self-help guides. With a passion for history and literature, she has delved into the lives of some of the fascinating figures in history, uncovering hidden stories and surprising facts.

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Life Writing

Essays on Autobiography, Biography and Literature

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• R. Bradford

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Book Title : Life Writing

Book Subtitle : Essays on Autobiography, Biography and Literature

Editors : R. Bradford

Publisher : Palgrave Macmillan London

eBook Packages : Literature, Cultural and Media Studies (R0)

Copyright Information : Palgrave Macmillan, a division of Macmillan Publishers Limited 2010

Hardcover ISBN : 978-0-230-20252-8 Published: 19 November 2009

Edition Number : 1

Number of Pages : XV, 317

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Pulitzer Prizes 2024: A Guide to the Winning Books and Finalists

Jayne Anne Phillips won the fiction award for “Night Watch,” while Jonathan Eig and Ilyon Woo shared the biography prize.

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By Elizabeth A. Harris and Joumana Khatib

Eighteen books were recognized as winners or finalists for the Pulitzer Prize on Monday, in the categories of history, memoir, poetry, general nonfiction, fiction and biography, which had two winners.

Night Watch , by Jayne Anne Phillips

A story about a mother and daughter set in the Trans-Allegheny Lunatic Asylum in Weston, W.Va., after the Civil War. “Night Watch,” which was also longlisted for the National Book Award, is about surviving war and its aftermath. “I consider Phillips to be among the greatest and most intuitive of American writers,” wrote our critic Dwight Garner.

Fiction finalist: Wednesday’s Child: Stories , by Yiyun Li

A short story collection written over the course of a decade that examines aging and loss. The stories touch on a woman who makes a spreadsheet of every person she’s lost, a middle-aged practitioner of Eastern medicine and an 88-year-old biologist.

Farrar, Straus & Giroux

Fiction finalist: Same Bed Different Dreams , by Ed Park

An imagined alternate history of Korea that includes assassins, slasher films and the dangers of social media. In a review in The Times, the critic Hamilton Cain called the book “wonderfully suspenseful, like watching a circus performer juggle a dozen torches; will one slip his agile hands?”

Random House

No Right to an Honest Living , by Jacqueline Jones

Jones, a historian and a two-time finalist for the Pulitzer Prize, examines the hypocrisy of Boston before the Civil War. The city was known for its antislavery rhetoric and as the center of abolitionism, but Black residents endured “casual cruelty” in the work force and were condemned to lives of poverty without the chance for equal employment.

Basic Books

History finalist: Continental Reckoning: The American West in the Age of Expansion , by Elliott West

This is an examination of the American West and its physical and cultural transformation in the 19th century. The book covers the 1840s, when the West was home to various Native cultures, and moves through the next three decades, when the area was organized into states and territories and connected by railroads and telegraph wires.

University of Nebraska Press

History finalist: American Anarchy: The Epic Struggle Between Immigrant Radicals and the U.S. Government at the Dawn of the Twentieth Century, by Michael Willrich

This book is a history of the American anarchist movement in the early 20th century. While many working class immigrants saw it as heroic, others considered it a frightening foreign ideology.

King: A Life , by Jonathan Eig

This major study of the civil rights icon draws on a landslide of recently released White House telephone transcripts, F.B.I. documents, letters, oral histories and other material. Eig shows a masterly command of his research, showing King in intimate moments, and arguing that his nonviolence has been mistaken for passivity. Put simply, our critic Dwight Garner wrote, “Eig’s book is worthy of its subject.”

Master Slave Husband Wife: An Epic Journey From Slavery to Freedom , by Ilyon Woo

In 1848, William and Ellen Craft, an enslaved couple, disguised themselves as a sick, wealthy white man traveling with his male slave and headed north. Woo tells the story of their stunning, perilous journey in novelistic detail, tracing their path through the United States and eventual passage to England, where they wrote a popular book about their escape.

Simon & Schuster

Biography finalist: “ Larry McMurtry: A Life ,” by Tracy Daugherty

This is the first comprehensive biography of McMurtry, the Pulitzer Prize-winning author of “Lonesome Dove” and “The Last Picture Show,” among other novels. Daugherty has also written biographies of Joseph Heller and Joan Didion, and his latest “reads a bit like one of McMurtry’s novels,” our critic Dwight Garner wrote in his review. “Elegy and humor bleed into each other.”

St. Martin’s Press

MEMOIR OR AUTOBIOGRAPHY

Liliana’s Invincible Summer: A Sister’s Search for Justice , by Cristina Rivera Garza

In 1990, Rivera Garza’s 20-year-old sister was killed, and the case is a jumping-off point for this searching, personal examination of femicide in Mexico. The book is “one of the most effective resurrections of a murder victim I have ever read,” our reviewer, Katherine Dykstra, wrote. “Rivera Garza draws her sister, then complicates that drawing and then complicates the complication, creating layer upon layer of nuance.”

Memoir finalist: The Country of the Blind: A Memoir at the End of Sight , by Andrew Leland

The author, a longtime editor and podcaster, details his life with retinitis pigmentosa, a disease that is gradually causing him to lose his vision. His writing is “jazzy and intelligent,” our critic Alexandra Jacobs said, “with licks of understated humor.” Yet Leland also “rigorously explores the disability’s most troubling corners,” resulting in an affecting study of vision and its limits.

Penguin Press

Memoir finalist: The Best Minds: A Story of Friendship, Madness, and the Tragedy of Good Intentions , by Jonathan Rosen

In this account of his friendship with Michael Laudor, who came to prominence as a Yale student trying to publicly destigmatize mental illness and later was convicted of stabbing his pregnant girlfriend to death, Rosen offers a look at the boundaries between brilliance and insanity. Our critic Alexandra Jacobs called it “an act of tremendous compassion and a literary triumph.”

GENERAL NONFICTION

A Day in the Life of Abed Salama: Anatomy of a Jerusalem Tragedy , by Nathan Thrall

This book tells the story of a deadly bus crash outside Jerusalem through the eyes of a Palestinian father whose 5-year-old died in the accident. The father’s agony is compounded by the physical and legal restrictions that shape the lives of Palestinians in East Jerusalem. Thrall also examines the political, bureaucratic and personal decisions that contributed to the crash, and “vignettes of individual guilt come up against stark political realities,” our reviewer Rozina Ali wrote.

Metropolitan Books

General nonfiction finalist: Fire Weather: A True Story From a Hotter World , by John Vaillant

In 2016, wildfires tore through Fort McMurray, in the Canadian province of Alberta. Vaillant details how the fire began, how it traveled and the wreckage it left behind, weaving a story of a warming climate, a massive oil reserve and the apocalyptic fallout. The heart of the story, of course, is the fire itself: “Vaillant anthropomorphizes fire,” our reviewer David Enrich wrote. “Not only does it grow and breathe and search for food; it strategizes. It hunts. It lays in wait for months, even years.”

General nonfiction finalist: Cobalt Red: How the Blood of the Congo Powers Our Lives , by Siddharth Kara

Cobalt is an essential mineral used in the lithium-ion rechargeable batteries that power devices from smartphones to electric vehicle. This book, from an academic who has studied modern slavery, examines the horrors of cobalt mining, particularly the hazardous conditions and subsistence pay that workers face.

Tripas: Poems, by Brandon Som

In this collection, Som celebrates his multicultural heritage and family memories, writing about his grandmother, who was Chicana and worked nights on an assembly line at a Motorola factory, and his Chinese American father and grandparents, who ran a corner store.

Georgia Review Books

Poetry finalist: Information Desk: An Epic , by Robyn Schiff

Schiff chronicles her five years working at the Metropolitan Museum of Art’s information desk, where she answered mostly one question. As she writes in “Information Desk,” the “catechism/commences: Where’s the bathroom? / Where’s / the bathroom? Can you direct me to a / men’s room? ” Writing about the book for The Times, Maggie Lange called it “a searing yet reverent book-length poem, containing as many jokes as it does social critiques.”

Penguin Poets

Poetry finalist: To 2040, by Jorie Graham

Graham’s 15th poetry collection is narrated by a speaker looking toward the future while reflecting on her own mortality. The collection begins with questions stated as fact: “Are we / extinct yet. Who owns / the map.”

Copper Canyon Press

  More about Elizabeth A. Harris

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PXG's Bob Parsons on his new autobiography: 'I never regretted any decision that I made'

B ob Parsons, the 73-year-old billionaire behind PXG, the golf upstart brand that has become an industry stalwart in its decade of existence, likes to say that luck and a guardian angel have been integral parts to his success. The biggest hits in his career include selling his microcomputer software company Parsons Technology to Intuit for $50 million and leading GoDaddy.com to an industry-changing presence that led to another sale worth $2.3 billion.

All of those business achievements come a long way from Parsons’ meager upbringing in East Baltimore, Md., his tour of duty and Purple Heart in Vietnam as a Marine and an intense work ethic as a self-taught programmer that laid the foundation for his distinctive presence as an entrepreneur. His presence on the current golf landscape notably includes his full-throated voiceovers for his PXG television ads, but that tone is merely a character Parsons plays in the media, a bit of marketing alchemy of which he thinks too much is made. Clearly, though, it has been undeniably successful. The real man—the one driven to figure out everything from computer languages to the golf club stewardship of Scottsdale National, the one passionate about service people and “blue-collar guys,” the Vietnam veteran struggling through nearly a half-century battle with PTSD—is revealed throughout his just released autobiography Fire in the Hole .

We sat down to talk with Parsons about his life, his book and the state of golf (and his game as he battles back to regain lost yardage from recent knee-replacement and back surgeries) during his recent visit to New York. (Questions and comments edited for length and clarity.)

Bob Parsons: I’ve been tight with about six guys that I served with in Vietnam with my rifle company, and for years they talked to me again and again and again, saying, “Man, you gotta write a book, you gotta write a book.” And I thought about it for a long time, and, I thought, you know, it'd be nice to have something that, that future generations of my family or my kids and their kids, can read and find out where they came from. And, as I've gotten older, you think about this stuff more and you change.

BP: I clicked really well with Laura Morton, who is a hell of a writer and a co-author, and she could really get me going. Some stuff, to me, putting that together was like falling out of boat and hitting water. Now the hard stuff, some of the things during the war, that was hard. There were a few things that I actually flashed back and I was there and I could see it like I was seeing it the first time, and I felt it. I cried like I have never cried before. It tore me up, but after I went through it again for the book, it was very cathartic because I'm able to talk about it now, reasonably. But I mean, it still bothers me, but not like it did before.

BP: Here's the deal in my life: Everything that I wanted to do I did. So, I mean, I never regretted any decision that I made because it either turned out to be pretty good, or almost just as importantly, I learned from it. You learn a bunch of stuff by making mistakes because that's one of the ways to become successful. You know, you tie your shoes in a knot at first; loops don't come until later.

BP: Well, I'm still that young person, but as far as the golf business goes, I mean, you show me a tougher business. I don't think you'll find too many tougher businesses to be in. Every business I've ever gotten into has always been harder than I thought. Every one. And my dad once told me, “When you get older, you're going be tempted to look at the other guy's business and it's going to seem a lot easier. Just don't believe it. They're all tough or everybody would be doing it.”

BP: You know, what you do when your options are none is where we'd all be surprised. And when that PTSD wells up within you, it's not a sorrow. It is just something uncontrollable that just happens at the damnedest time to me still. It's not a fear … or really, the only fear is I can't control it. It’s an enemy you can’t see, that’s for damn sure. But in my life, I worked hard because I had to, but I also know there have been a lot of, I'm telling you, a lot of it was these incredible, incredible moments and amazing coincidences. I literally think I have an angel. But when I write about how I’ve learned to deal with PTSD, I hope people can see there’s a path, there’s hope. That’s certainly one of my intentions.

Parsons was wounded in Vietnam in 1969.

BP: The issue has never been the golf ball. The issue has been the athletic nature of the competitors and how incredibly fit they are. So if the USGA and the R&A want to tell players they can’t lift weights or go to the gym for three months prior to the Open, maybe that might help more than changing a golf ball. But I don’t think they’re going to do that. So it’s nuts. Am I going to make a conforming ball? Not yet. I’m going to let that battle be settled first. And even if the tour gets on board with it, it’s going to take a while to shake out in the marketplace because most golfers really don’t give a s--- if the USGA says the ball is conforming or not because if they hit it longer, baby, that’s what they want to play. I view it like the PXG rule we have at Scottsdale National. If all the clubs in your bag are PXG, there is no 14-club limit. Now, we haven’t made a nonconforming driver yet, but I think I am the one guy who if we made a really hot driver, you can be god-damn sure I’d be playing it. And it would be automatically approved at Scottsdale National.