autobiography narrative memoir

The Differences between Memoir, Autobiography, and Biography - article

Creative nonfiction: memoir vs. autobiography vs. biography.

Writing any type of nonfiction story can be a daunting task. As the author, you have the responsibility to tell a true story and share the facts as accurately as you can—while also making the experience enjoyable for the reader.

There are three primary formats to tell a creative nonfiction story: memoir, autobiography, and biography. Each has its own distinct characteristics, so it’s important to understand the differences between them to ensure you’re writing within the correct scope.

A memoir is a collection of personal memories related to specific moments or experiences in the author’s life. Told from the perspective of the author, memoirs are written in first person point of view.

The defining characteristic that sets memoirs apart from autobiographies and biographies is its scope. While the other genres focus on the entire timeline of a person’s life, memoirs structure themselves on one aspect, such as addiction, parenting, adolescence, disease, faith, etc.

They may tell stories from various moments in the author’s life, but they should read like a cohesive story—not just a re-telling of facts.

“You don’t want a voice that simply relates facts to the reader. You want a voice that shows the reader what’s going on and puts him or her in the room with the people you’re writing about.” – Kevan Lyon in Writing a Memoir

Unlike autobiographies and biographies, memoirs focus more on the author’s relationship to and feelings about his or her own memories. Memoirs tend to read more like a fiction novel than a factual account, and should include things like dialogue , setting, character descriptions, and more.

Authors looking to write a memoir can glean insight from both fiction and nonfiction genres. Although memoirs tell a true story, they focus on telling an engaging narrative, just like a novel. This gives memoir authors a little more flexibility to improve upon the story slightly for narrative effect.

However, you should represent dialogue and scenarios as accurately as you can, especially if you’re worried about libel and defamation lawsuits .

Examples of popular memoirs include Eat, Pray, Love by Elizabeth Gilbert and The Glass Castle by Jeannette Walls.

Key traits of a memoir:

- Written in 1 st person POV from the perspective of the author - Less formal compared to autobiographies and biographies - Narrow in scope or timeline - Focused more on feelings and memories than facts - More flexibility to change the story for effect

Autobiography

Like a memoir, an autobiography is the author’s retelling of his or her life and told in first person point of view, making the author the main character of the story.

Autobiographies are also narrative nonfiction, so the stories are true but also include storytelling elements such as a protagonist (the author), a central conflict, and a cast of intriguing characters.

Unlike memoirs, autobiographies focus more on facts than emotions. Because of this, a collaborator often joins the project to help the author tell the most factual, objective story possible.

While a memoir is limited in scope, an autobiography details the author’s entire life up to the present. An autobiography often begins when the author is young and includes detailed chronology, events, places, reactions, movements and other relevant happenings throughout the author’s life.

“In many people’s memoir, they do start when they’re younger, but it isn’t an, ‘I got a dog, then we got a fish, and then I learned to tie my shoes’…it isn’t that kind of detail.” – Linda Joy Meyers in Memoir vs. Autobiography

The chronology of an autobiography is organized but not necessarily in date order. For instance, the author may start from current time and employ flashbacks or he/she may organize events thematically.

Autobiographers use many sources of information to develop the story such as letters, photographs, and other personal memorabilia. However, like a memoir, the author’s personal memory is the primary resource. Any other sources simply enrich the story and relay accurate and engaging experiences.

A good autobiography includes specific details that only the author knows and provides context by connecting those details to larger issues, themes, or events. This allows the reader to relate more personally to the author’s experience. 

Examples of popular autobiographies include The Diary of a Young Girl by Anne Frank and I Know Why the Caged Bird Sings by Maya Angelou.

Key traits of an autobiography:

- Written in 1 st person POV from the perspective of the author, occasionally with the help of a collaborator - More formal and objective than memoirs, but more subjective than biographies - Broad in scope or timeline, often covering the author’s entire life up to the present - Focused more on facts than emotions - Requires more extensive fact-checking and research than memoirs, but less than biographies

A biography is the story of events and circumstances of a person’s life, written by someone other than that person. Usually, people write biographies about a  historical  or  public figure . They can be written with or without the subject’s authorization.

Since the author is telling the account of someone else, biographies are always in third person point of view and carry a more formal and objective tone than both memoirs and autobiographies.

Like an autobiography, biographies cover the entire scope of the subject’s life, so it should include details about his or her birthplace, educational background, work history, relationships, death and more.

Good biographers will research and study a person’s life to collect facts and present the most historically accurate, multi-faceted picture of an individual’s experiences as possible. A biography should include intricate details—so in-depth research is necessary to ensure accuracy.

“If you’re dealing principally with historical figures who are long dead, there are very few legal problems…if you’re dealing with a more sensitive issue…then the lawyers will be crawling all over the story.” – David Margolick in Legal Issues with Biographies

However, biographies are still considered creative nonfiction, so the author has the ability to analyze and interpret events in the subject’s life, looking for meaning in their actions, uncovering mistakes, solving mysteries, connecting details, and highlighting the significance of the person's accomplishments or life activities.

Authors often organize events in chronological order, but can sometimes organize by themes or specific accomplishments or topics, depending on their book’s key idea.

Examples of popular biographies include Steve Jobs by Walter Isaacson and The Immortal Life of Henrietta Lacks by Rebecca Skloot.

Key traits of a biography:

- Written about another person, often a celebrity or public figure, and told in 3 rd person point of view - More formal and objective than both memoirs and autobiographies - Broad in scope or timeline, often covering the subject’s entire life up to the present - Focused solely on facts - Requires meticulous research and fact-checking to ensure accuracy

• Biographies and Memoirs
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Met you this morning briefly and just bought your book on Amazon. Congratulations. 

Very helpful. I think I am heading down the path of a memoir.

Thank you explaining the differences between the three writing styles!

Very useful article. Well done. Please can we have more. Doctor's Orders !!!

My first book, "Tales of a Meandering Medic" is definitely a Memoir.

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Memoir vs. Autobiography: Understanding the Differences

• November 2, 2023

Table of Contents:

Definition of memoir, definition of autobiography, importance of understanding the differences between memoir and autobiography, clear purpose, writing style, connecting with the author, historical value, personal growth , authorship and perspective, scope and timeframe in memoirs and autobiographies,  how scope affects content, level of detail, emotional intimacy, breadth vs. depth, style and literary elements, target audience, market and publishing.

• What Is The Purpose Of Elie Wiesel's Memoir?
• What Is the Difference Between Graphic Novels Vs. Memoirs?
• What Is Self-Biography Writing?

Do Professional Book Publishing Services Prefer Memoirs or Autobiography?

Essential elements and detailed insights.

When documenting one’s life story, “ memoir” and “autobiography ” are often used interchangeably. However, they represent distinct genres of literature, each with its unique characteristics. In this article, we’ll dig into the world of memoirs and autobiographies , exploring their differences, purposes, writing styles, and much more.

A memoir is a special book where someone shares personal stories and feelings about a specific part of their life. It’s different from a full autobiography because it zooms in on particular moments or themes that greatly impact the author. This way, the author can create a story that’s not just about facts but also their emotions and thoughts.

Memoirs are known for being very emotional and showing the author’s point of view. They let readers see the author’s unique perspective on a certain time or event, which helps us feel closer to them. Reading a memoir, we can better understand how the author changed, faced challenges, achieved things, and learned important lessons. Memoirs stand out because they let us connect with the author’s personal experiences and feelings, making them a powerful way to understand the human journey on a deep level.

Unlike memoirs, which focus on specific emotional moments, autobiographies tell the whole life story of an author from the day they were born to the present. Autobiographies are like history books about a person’s life. They give you a factual and chronological account of everything in the author’s life without sticking to particular themes or events.

In an autobiography, you’ll find details about the author’s family, childhood, education, work, relationships, and important life events. They also talk about the author’s achievements, struggles, and how they changed over time. Autobiographies are valuable because they help us understand the historical, cultural, and societal background in which the author lived.

It’s important to know the difference between memoirs and autobiographies , whether you’re a writer or a reader. These differences affect how the story is told, what it’s about, and how readers connect. Let’s dig into why this matters.

For Authors:

Knowing whether you’re writing a memoir or an autobiography helps you set clear goals for your book. It guides what you write, your writing style, and how much personal stuff you’re comfortable sharing.

Memoirs are more personal and emotional, while autobiographies are factual and chronological. Understanding this helps you write in a way that fits the genre and what readers expect.

For Readers:

 If you know whether you’re reading, a memoir or an autobiography helps you know what to expect and how you’ll connect with the author. Memoirs are more personal and emotional, letting you understand the author’s inner thoughts and feelings. Autobiographies give a broader view of the author’s life.

 Autobiographies are like history books about a person’s life. They’re useful for historians and researchers to understand a specific time, culture, or society.

Memoirs, focusing on personal experiences and emotions, can inspire personal growth and reflection in both the author and the reader. You can learn from the author’s struggles and victories.

Memoirs are like personal conversations between the author and the reader. They use “I” to talk about the author’s experiences and feelings, which makes you feel close to their thoughts and emotions. This way, you see the story from the author’s point of view, and it’s like you’re right there with them. This makes you connect with the author and their story on a deep level.

Autobiographies give authors a choice. They can use “I” like in memoirs or talk about themselves using their name or words like “he” or “she” (third-person). When written in the first-person, autobiographies are a lot like memoirs. You get a direct look at the author’s experiences and emotions, creating a strong emotional connection.

But if autobiographies are written in the third-person, they can feel more distant and formal, like someone is describing the author’s life as an observer. This choice of perspective affects how the story is told and how readers feel about it.

The perspective choice in memoirs and autobiographies greatly affects how the story feels. With their first-person style, Memoirs make you feel like you’re right there with the author, experiencing everything alongside them. It’s a very personal and emotional way of telling a story.

Memoirs focus on certain parts of an author’s life, like special moments, specific times, or important relationships. They chose these parts because they meant a lot to the author or greatly impacted them. By zooming in on these moments, memoirs can dig deep into the author’s feelings and thoughts about them. This helps readers understand the author’s journey.

Memoirs can be about all kinds of things, like childhood, family, work challenges, or personal growth. What’s cool about them is that they give you a vivid and insightful look into the author’s life related to these specific parts.

Autobiographies are like a big picture of an author’s life, from when they were born to today. They cover everything about the author’s life, so you can see the whole story.

Autobiographers talk about many things, like their childhood, school, work, relationships, and big life events. This big scope gives you a complete view of the author’s life, following their journey from start to now. Autobiographies are like a tapestry that weaves together all the parts that made the author who they are.

The scope of the narrative, whether it’s a memoir or an autobiography, significantly influences the content and style of the work.

Memoirs, with their limited focus on specific events or periods, allow for greater detail. Authors can explore these moments intricately, describing emotions, thoughts, and personal growth in depth. Conversely, autobiography often provides a more general overview of various life stages, offering a less detailed examination of each.

Memoirs tend to be more emotionally intimate, concentrating on specific moments and personal reflections. Readers get a profound insight into the author’s inner world and the emotional impact of these events. While offering a comprehensive view, Autobiographies may not explore as deeply into the emotional aspects of each life stage.

Memoirs emphasize depth in their chosen topics, whereas autobiographies prioritize breadth, covering the entire life span. Memories can be more focused and profound in their exploration, while autobiographies offer a broader, more encompassing perspective.

Memoirs often feature a narrative style that emphasizes storytelling. They are emotionally charged, allowing readers to connect with the author’s experiences on a personal level. Autobiographies lean towards an informative and factual style, focusing on providing an accurate account of events. Emotions take a backseat to facts and details. The choice of writing style impacts the story and the reader’s experience. Memoirs draw readers into a personal journey, while autobiographies offer a more informative narrative.

Memoirs often target a more personal and emotionally engaged audience. Readers seeking to connect with the author’s experiences are the primary audience. Autobiographies appeal to a broader readership, including those interested in historical accounts and comprehensive life stories. Authors must consider their target audience when deciding between a memoir and an autobiography. Understanding the preferences of readers is essential.

Memoirs have found a significant place in today’s literary market, with readers seeking authentic and relatable stories. Autobiographies, too, have a stable presence in the publishing industry, often catering to readers interested in historical narratives. Authors must consider the market demand for their chosen genre when writing a memoir or autobiography.

What Is The Purpose Of Elie Wiesel’s Memoir ?

Elie Wiesel’s memoir, “Night,” serves to bear witness to the horrors of the Holocaust. Its purpose is to share his personal experience and the universal message of the importance of remembrance and human rights.

What Is the Difference Between Graphic Novels Vs. Memoirs ?

While both can tell personal stories, a graphic novel is a narrative told through illustrations, often fictional, while a memoir is a factual account of an author’s life experiences in written form.

What Is Self-Biography Writing ?

Self-biography writing documents one’s life story, experiences, and reflections in a written narrative. It involves the author sharing their own experiences and perspective.

Professional book publishing services like American Author House consider both genres, depending on market demand and the unique narrative. The choice often depends on the author’s goals and the story they wish to convey, with each genre having its strengths and audience appeal.

Understanding the differences between memoirs and autobiographies is crucial for authors and readers alike. Each genre offers a unique appeal and purpose, contributing to the diversity of literature. Authors should embrace the genre that resonates with their story, ultimately sharing their unique experiences.

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The New York Times

Books | the 50 best memoirs of the past 50 years, the 50 best memoirs of the past 50 years.

By THE NEW YORK TIMES JUNE 26, 2019

The New York Times’s book critics select the most outstanding memoirs published since 1969.

Click the star icon to create and share your own list of favorites or books to read.

Fierce Attachments

Vivian gornick, farrar, straus & giroux, 1987.

“I remember only the women,” Vivian Gornick writes near the start of her memoir of growing up in the Bronx tenements in the 1940s, surrounded by the blunt, brawling, yearning women of the neighborhood, chief among them her indomitable mother. “I absorbed them as I would chloroform on a cloth laid against my face. It has taken me 30 years to understand how much of them I understood.”

When Gornick’s father died suddenly, she looked in the coffin for so long that she had to be pulled away. That fearlessness suffuses this book; she stares unflinchingly at all that is hidden, difficult, strange, unresolvable in herself and others — at loneliness, sexual malice and the devouring, claustral closeness of mothers and daughters. The book is propelled by Gornick’s attempts to extricate herself from the stifling sorrow of her home — first through sex and marriage, but later, and more reliably, through the life of the mind, the “glamorous company” of ideas. It’s a portrait of the artist as she finds a language — original, allergic to euphemism and therapeutic banalities — worthy of the women that raised her. — Parul Sehgal

I love this book — even during those moments when I want to scream at Gornick, which are the times when she becomes the hypercritical, constantly disappointed woman that her mother, through her words and example, taught the author to be. There’s a clarity to this memoir that’s so brilliant it's unsettling; Gornick finds a measure of freedom in her writing and her feminist activism, but even then, she and her mother can never let each other go. —  Jennifer Szalai

Gornick’s language is so fresh and so blunt; it’s a quintessentially American voice, and a beautiful one. The confidence of her tone in “Fierce Attachments” reminds me of the Saul Bellow who wrote, in the opening lines of “The Adventures of Augie March,” “I have taught myself, free-style, and will make the record in my own way.” — Dwight Garner

Buy this book

The Woman Warrior

Maxine hong kingston, alfred a. knopf, 1976.

This book is more than four decades old, but I can’t think of another memoir quite like it that has been published since. True stories, ghost stories, “talk stories” — Maxine Hong Kingston whirs them all together to produce something wild and astonishing that still asserts itself with a ruthless precision.

The American-born daughter of Chinese immigrants, Kingston navigates a bewildering journey between worlds, each one stifling yet perforated by inconsistencies. There’s the Chinese village of Kingston’s ancestors, where girls learn the song of the warrior woman while being told they are destined to become a wife and a slave. There’s the postwar California of her childhood, where she has to unlearn the “strong and bossy” voices of the Chinese women in her family in favor of an “American-feminine” whisper. There’s Mao’s revolution, which is supposed to upend the old feudal system that kept her female ancestors trapped in servitude (if they weren’t victims of infanticides as unwanted baby girls) but also imposes its own deadly cruelty, preventing her parents from returning home.

The narrative undulates, shifting between ghost world, real world and family lore. It can be deadpan and funny, too. The young Kingston resolves to become a lumberjack and a newspaper reporter. Both worthy ambitions, but I’m thankful she wrote this indelible memoir instead. — Jennifer Szalai

Alison Bechdel

Houghton mifflin harcourt, 2006.

Alison Bechdel’s beloved graphic novel is an elaborately layered account of life and artifice, family silence and revelation, springing from her father’s suicide. He was a distant man who devoted himself to the refurbishment of his sprawling Victorian home — and to a hidden erotic life involving young men. The title comes from the abbreviation of the family business — a funeral home — but it also refers to the dual funhouse portrait of father and daughter, of the author’s own queerness.

It’s a sexual and intellectual coming-of-age story that swims along literary lines, honoring the books that nourished Bechdel and her parents and seemed to speak for them: Kate Millet, Proust, Oscar Wilde, theory, poetry and literature. “Fun Home” joins that lineage, an original, mournful, intricate work of art. — Parul Sehgal

The Liars’ Club

Viking, 1995.

This incendiary memoir, about the author’s childhood in the 1960s in a small industrial town in Southeast Texas, was published in 1995 and helped start the modern memoir boom. The book deserves its reputation. You can almost say about Mary Karr’s agile prose what she says about herself at the age of 7: “I was small-boned and skinny, but more than able to make up for that with sheer meanness.”

As a girl, Karr was a serious settler of scores, willing to bite anyone who had wronged her or to climb a tree with a BB gun to take aim at an entire family. Her mother, who “fancied herself a kind of bohemian Scarlett O’Hara,” had a wild streak. She was married seven times, and was subject to psychotic episodes. Her father was an oil refinery worker, a brawling yet taciturn man who came most fully alive when telling tall stories, often in the back room of a bait shop, with a group of men called “The Liars’ Club.”

This is one of the best books ever written about growing up in America. Karr evokes the contours of her preadolescent mind — the fears, fights and petty jealousies — with extraordinary and often comic vividness. This memoir, packed with eccentrics, is beautifully eccentric in its own right. — Dwight Garner

For generations my ancestors had been strapping skillets onto their oxen and walking west. It turned out to be impossible for me to “run away” in the sense other American teenagers did. Any movement at all was taken for progress in my family.

—Mary Karr, “The Liar’s Club”

Christopher Hitchens

Twelve, 2010.

This high-spirited memoir traces the life and times of this inimitable public intellectual, who is much missed, from his childhood in Portsmouth, England, where his father was a navy man, through boarding school, his studies at Oxford and his subsequent career as a writer both in England and the United States.

Christopher Hitchens was a man of the left but unpredictable (and sometimes inscrutable) politically. “Hitch-22” demonstrates how seriously he took the things that really matter: social justice, learning, direct language, the free play of the mind, loyalty and holding public figures to high standards.

This is a vibrant book about friendships, and it will make you want to take your own more seriously. Hitchens recounts moments with friends that include Martin Amis, Salman Rushdie and the poet James Fenton. There is a lot of wit here, and bawdy wordplay, and accounts of long nights spent drinking and smoking. Hitchens decided to become a student of history and politics, he writes, after the Cuban missile crisis. “If politics could force its way into my life in such a vicious and chilling manner, I felt, then I had better find out a bit more about it.” He was a force to contend with from the time he was in short pants. “I was probably insufferable,” he concedes. — Dwight Garner

Read the critics discuss the process of putting together the list.

Men We Reaped

Jesmyn ward, bloomsbury, 2013.

“Men’s bodies litter my family history,” the novelist Jesmyn Ward writes in this torrential, sorrowing tribute to five young black men she knew, including her brother, who died in the span of four years, lost to suicide, drugs or accidents. These men were devoured by her hometown, DeLisle, Miss. — called Wolf Town by its first settlers — “pinioned beneath poverty and history and racism.”

Ward tells their stories with tenderness and reverence; they live again in these pages. Their fates twine with her own — her dislocation and anguish, and later, the complicated story of her own survival, and isolation, as she is recruited to elite all-white schools. She is a writer who has metabolized the Greeks and Faulkner — their themes course through her work — and the stories of the deaths of these men join larger national narratives about rural poverty and racism. But Ward never allows her subjects to become symbolic. This work of great grief and beauty renders them individual and irreplaceable. — Parul Sehgal

Random House, 1995

It’s Vidal, so you know the gossip will be abundant, and top shelf. Scores will be settled (with Anaïs Nin, Charlton Heston, Jacqueline Kennedy Onassis, his mother), conquests enumerated (Jack Kerouac), choice quips dispensed. “At least I have a style,” Truman Capote once sniped at him. “Of course you do,” Vidal responded soothingly. “You stole it from Carson McCullers.”

It was a rangy life — one that took him into the military, politics, Hollywood, Broadway — and he depicts it with the silky urbanity you expect. What comes as a shock is the book’s directness and deep feeling — its innocence.

It’s a love story, at the end of the day. Vidal had a lifelong companion but remained passionately compelled by a beautiful classmate, his first paramour, Jimmie, who died at 19, shot and bayoneted while sleeping in a foxhole on Iwo Jima. He is the phantom that has haunted Vidal’s long, eventful life. “Palimpsest” is a book full of revelations.

“By choice and luck, my life has been spent reading other people’s books and making sentences for my own,” Vidal writes. Our great luck, too. — Parul Sehgal

Giving Up the Ghost

Hilary mantel, a john macrae book/henry holt & company, 2003.

As a poor Catholic girl growing up in the north of England, Hilary Mantel was an exuberant child of improbable ambition, deciding early on that she was destined to become a knight errant and would change into a boy when she turned 4.

Her mesmerizing memoir reads like an attempt to recover the girl she once was, before others began to dictate her story for her. At the age of 7, looking about the garden, she saw an apparition, perhaps the Devil. She thought it was her fault, for allowing her greedy gaze to wander. Her stepfather was bullying, judgmental, condescending; anything Mantel did seemed to anger him. As a young woman, she started to get headaches, vision problems, pains that coursed through her body, bleeding that no longer confined itself to that time of the month. The doctors told her she was insane.

The ghost she is giving up in the title isn’t her life but that of the child she might have had but never will. Years of misdiagnoses culminated in the removal of her reproductive organs, barnacled by scar tissue caused by endometriosis. Her body changed from very thin to very fat. Mantel, perhaps best known for her novels “Wolf Hall” and “Bring Up the Bodies,” writes about all of this with a fine ear and a furious intelligence, as she resurrects phantoms who “shiver between the lines.” — Jennifer Szalai

I used to think that autobiography was a form of weakness, and perhaps I still do. But I also think that, if you’re weak, it’s childish to pretend to be strong.

—Hilary Mantel, “Giving Up the Ghost”

A Childhood

Harry crews, harper & row, 1978.

This taut, powerful and deeply original memoir covers just the first six years of this gifted novelist’s life, but it is a nearly Dickensian anthology of physical and mental intensities.

Harry Crews grew up in southern Georgia, not far from the Okefenokee Swamp. His father, a tenant farmer, died of a heart attack before Crews was 2. His stepfather was a violent drunk. When Crews was 5, he fell into a boiler of water that was being used to scald pigs. His own skin came off, he writes, “like a wet glove.” When he recovered from this long and painful ordeal, he contracted polio so severely that his heels drew back tightly until they touched the backs of his thighs. He was told, incorrectly, that he would never walk again. “The world that circumscribed the people I come from,” he writes, “had so little margin for error, for bad luck, that when something went wrong, it almost always brought something else down with it.”

Crews sought solace in the Sears, Roebuck catalog, the only book in his house besides the Bible. He began his career as a writer by making up stories about the people he saw there. These humans didn’t have scars and blemishes like everyone he knew. “On their faces were looks of happiness, even joy, looks that I never saw much of in the faces of the people around me.” — Dwight Garner

Dreams From My Father

Barack obama, times books/random house, 1995.

Barack Obama’s first book was published a year before he was elected to the Illinois senate and long before his eight years in the White House under the unrelenting gaze of the public eye. “Dreams From My Father” is a moving and frank work of self-excavation — mercifully free of the kind of virtue-signaling and cheerful moralizing that makes so many politicians’ memoirs read like notes to a stump speech.

Obama recounts an upbringing that set him apart, with a tangle of roots that didn’t give him an obvious map to who he was. His father was from Kenya; his mother from Kansas. Obama himself was born in Hawaii, lived in Indonesia for a time, and was largely raised by his mother and maternal grandparents, after his father left for Harvard when Obama was 2.

“I learned to slip back and forth between my black and white worlds,” he writes, “understanding that each possessed its own language and customs and structures of meaning, convinced that with a bit of translation on my part the two worlds would eventually cohere.” To see what held his worlds together was also to learn what kept them apart. This is a book about the uses of disenchantment; the revelations are all the more astonishing for being modest and hard-won. — Jennifer Szalai

Philip Roth

Simon & schuster, 1991.

Philip Roth’s book is a Kaddish to his father, Herman Roth, who developed a benign brain tumor at 86. Surgery was not an option, and Herman became immured in his body, which “had become a terrifying escape-proof enclosure, the holding pen in a slaughterhouse.”

“Patrimony,” which won the National Book Critics Circle Award, is written plainly, without any flourishes — just the unbearable facts of a father’s decline, the body weakening, the vigorous mind dimming. It’s the rough stuff of devotion. Roth adopts care of his increasingly difficult father and witnesses his rapid decline, admonishing himself: “You must not forget anything.”

“He was always teaching me something,” Roth recalls of his father. He never stopped. In this book, Roth offers a moving tribute to the man but also a portrait almost breathtaking in its honesty and lack of sentimentalism, so truthful and exact that it is as much a portrait of living as dying, son as father. “He could be a pitiless realist,” Roth writes of Herman, proudly. “But I wasn’t his offspring for nothing.” — Parul Sehgal

I had seen my father’s brain, and everything and nothing was revealed. A mystery scarcely short of divine, the brain, even in the case of a retired insurance man with an eighth-grade education from Newark’s Thirteenth Avenue School.

—Philip Roth, “Patrimony”

All God’s Dangers: The Life of Nate Shaw

Theodore rosengarten, alfred a. knopf, 1974.

This indelible book, an oral history from an illiterate black Alabama sharecropper, won the National Book Award in 1975, beating a lineup of instant classics that included “The Power Broker,” Robert Caro’s biography of Robert Moses; Bob Woodward and Carl Bernstein’s “All the President’s Men”; Studs Terkel’s “Working”; and Robert M. Pirsig’s “Zen and the Art of Motorcycle Maintenance.” Unlike these other books, “All God’s Dangers” has largely been forgotten. It’s time for that to change.

This book’s author, Theodore Rosengarten, was a Harvard graduate student who went to Alabama in 1968 while researching a defunct labor organization. Someone suggested he speak with Shaw, whose real name was Ned Cobb. What emerged from Cobb’s mouth was dense and tangled social history, a narrative that essentially takes us from slavery to Selma from the point of view of an unprosperous but eloquent and unbroken black man.

Reading it, you will learn more about wheat, guano, farm implements, bugs, cattle killing and mule handling than you would think possible. This is also a dense catalog of the ways that whites tricked and mistreated blacks in the first half of the 20th century. “Years ago I heard that Abraham Lincoln freed the colored people,” Cobb says, “but it didn’t amount to a hill of beans.” About his white neighbors, he declares, “Any way they could deprive a Negro was a celebration to ’em.” This book is not always easy reading, but it is the real deal, an essential American document. — Dwight Garner

Lives Other Than My Own

Emmanuel carrère. translated from the french by linda coverdale., metropolitan books/henry holt & company, 2011.

You begin this memoir thinking it will be about one thing, and it turns into something else altogether — a book at once more ordinary and more extraordinary than any first impressions might allow.

Emmanuel Carrère starts with the 2004 tsunami in Sri Lanka — he was there, vacationing with his girlfriend. But that’s just the first 50 pages. Then he turns to the story of his girlfriend’s sister, a small-town judge who’s dying of cancer, and her friendship with another judge, who also has cancer. Carrère’s girlfriend chides him for thinking that such unpromising material offers him some sort of golden storytelling opportunity: “They don’t even sleep together — and at the end, she dies,” she says to him. “Have I got that straight? That’s your story?”

She does have it straight, but there’s so much more to it. Carrère weaves in his own experiences, coming up against his own limitations, his own prejudices, his own understanding of what defines a meaningful life. His sentences are clean, never showy; he writes about himself through others in a way that feels both necessarily generous and candidly — which is to say appropriately — narcissistic.

Whenever I try to describe this memoir — and I do that often, since it’s a book I don’t just recommend but implore people to read — I feel like I’m trying to parse a magic trick. — Jennifer Szalai

A Tale of Love and Darkness

Amos oz. translated from the hebrew by nicholas de lange., harcourt, 2004.

This memoir was born from a long silence, written 50 years after Amos Oz’s mother killed herself with sleeping pills, when he was 12, three months before his bar mitzvah. The resulting book is both brutal and generous, filled with meandering reflections on a life’s journey in politics and literature.

The only child of European Jews who settled in the Promised Land, Oz grew up alongside the new state of Israel, initially enamored of a fierce nationalism before becoming furiously (and in one memorable scene, rather hilariously) disillusioned. As a lonely boy, Oz felt unseen by his awkward father and confounded by his brilliant and deeply unhappy mother. She taught him that people were a constant source of betrayal and disappointment. Books, though, would never let him down. Hearing about what happened to those Jews who stayed in Europe, the young Oz wanted to become a book, because no matter how many books were destroyed there was a decent chance that one copy could survive.

Oz says he essentially killed his father by moving to a kibbutz at 15 and changing his name. But his father lives on in this memoir, along with Oz’s mother — not just in his recollections of her, but in the very existence of this book. She was the one who captivated him with stories that “amazed you, sent shivers up your spine, then disappeared back into the darkness before you had time to see what was in front of your eyes.” — Jennifer Szalai

This Boy’s Life

Tobias wolff, the atlantic monthly press, 1989.

“Our car boiled over again just after my mother and I crossed the Continental Divide.” So begins Tobias Wolff’s powerful and impeccably written memoir of his childhood in the 1950s, a classic of the genre that has lost none of its power.

Divorced mother and son had hit the road together, fleeing a bad man, trying to change their luck and maybe get rich as uranium prospectors. The author’s wealthy and estranged father was absent. Soon his mother linked up with a man named Dwight (never trust a man named Dwight) who beat young Wolff, stole his paper route money and forced him to shuck horse chestnuts after school for hours, until his hands were “crazed with cuts and scratches” from their sharply spined husks. Wolff became wild in high school, a delinquent and a petty thief, before escaping to a prep school in Pennsylvania. His prose lights up the experience of growing up in America during this era. He describes going to confession and trying to articulate an individual sin this way: “It was like fishing a swamp, where you feel the tug of something that at first seems promising and then resistant and finally hopeless as you realize that you’ve snagged the bottom, that you have the whole planet on the other end of your line.” — Dwight Garner

A Life’s Work

Rachel cusk, picador, 2002.

Rachel Cusk writes about new motherhood with an honesty and clarity that makes this memoir feel almost illicit. Sleepless nights, yes; colic, yes; but also a raw, frantic love for her firstborn daughter that she depicts and dissects with both rigor and amazement.

As many readers as there are who love “A Life’s Work” as much as I do, I know others who have been put off by its steely register, finding it too denuded, shorn of warmth and giddiness — those very things that help make motherhood such an enormous experience, and not just a grueling one. But whenever I read Cusk’s book, I am irrevocably pulled along in its thrall, constantly startled by her observations — milk running “in untasted rivulets” down her baby’s “affronted cheek”; pregnancy literature that “bristles with threats and the promise of reprisal” — and her willingness to see her experience cold.

Or, at least, to try to, because what becomes clear is that it’s impossible for Cusk to hold on to her old self. The childless writer who could compartmentalize with ease and take boundaries for granted has to learn an entirely new way of being. Embedded in Cusk’s chiseled sentences are her attempts to engage with a roiling vulnerability. None of the chipper, treacly stuff here; motherhood deserves more respect than that. — Jennifer Szalai

J.M. Coetzee

Viking, 1997.

The Nobel Prize-winning J.M. Coetzee is one of those novelists who rarely give interviews, and when he does, he’s like the Robert Mueller of the literary world — reticent, discreet and quietly insistent that his books should speak for themselves.

Coetzee, in other words, is taciturn in the extreme. Yet he has also written three revealing volumes about his life — “Boyhood,” “Youth” and “Summertime.” The first, “Boyhood,” is most explicitly and conventionally a memoir, covering his years growing up in a provincial village outside of Cape Town. The child of Afrikaner parents who had pretensions to English gentility, he was buttoned-up and sensitive, desperate to fit into the “normal” world around him but also confounded and repulsed by it. He noticed how his indolent relatives clung to their privileged position in South Africa’s brutal racial hierarchy through cruelty and a raw assertion of power. Out in the world, he lived in constant fear of violence and humiliation; at home he was cosseted by his mother and presided like a king.

The memoir is told in the third-person present tense, which lends it a peculiar immediacy. Coetzee is free to observe the boy he once was without the interpretive intrusions that come with age; he can remain true to what he felt then, rather than what he knows now. His recollections are stark and painfully intimate: “He feels like a crab pulled out of its shell, pink and wounded and obscene.” — Jennifer Szalai

Harcourt Brace Jovanovich, 1974

“The book is already a period piece,” the legendary travel writer Jan Morris opens her memoir. “It was written in the 1970s, and is decidedly of the 1970s.” It might be of its time but it is also ardent, musical, poetic and full of warm humor — a chronicle of ecstasies. Best remembered as one of the first accounts of gender transition, “Conundrum” is a study of home in all its forms — of finding home in one’s body, of Morris’s native Wales, of all the cities she possesses by dint of loving them so fiercely.

We are carried from her childhood, in the lap of a family militantly opposed to conformity, to her long career as a reporter in England and Egypt. She went everywhere, met everyone: Che Guevara (“sharp as a cat in Cuba”), Guy Burgess (“swollen with drink and self-reproach in Moscow”). It’s an enviably full life, with a long marriage, four children and Morris’s determinedly sunny disposition and ability to regard every second of her life, however difficult — especially if difficult — as a species of grand adventure.

She chafes at the notion of “identity” (“a trendy word I have long distrusted, masking as it often does befuddled ideas and lazy thinking”). It is thrilling to watch her arrive at an understanding of a sense of self and language that is her own, bespoke. “To me gender is not physical at all, but is altogether insubstantial,” she writes. “It was a melody that I heard within myself.” — Parul Sehgal

I did not query my condition, or seek reasons for it. I knew very well that it was an irrational conviction — I was in no way psychotic, and perhaps not much more neurotic than most of us; but there it was, I knew it to be true, and if it was impossible then the definition of possibility was inadequate.

—Jan Morris, “Conundrum”

Sonali Deraniyagala

Alfred a. knopf, 2013.

Sonali Deraniyagala was searching the internet for ways to kill herself when one click led to another and she was staring at a news article featuring pictures of her two young sons. The boys had died not long before — victims of the 2004 tsunami in Sri Lanka, which also killed Deraniyagala’s husband and her parents. She herself survived by clinging to a branch.

“Wave” is a meticulous account of derangement — of being so undone by grief that life becomes not just impossible but terrifying. She recalls stabbing herself with a butter knife. She couldn’t look at a flower or a blade of grass without feeling a sickening sense of panic. Reading this book is like staring into the abyss, only instead of staring back it might just swallow you whole.

This, believe it or not, is why you should read it — for Deraniyagala’s unflinching account of the horror that took away her family, and for her willingness to lay bare how it made her not only more vulnerable but also, at times, more cruel. Her return to life was gradual, tentative and difficult; she learned the only way out of her unbearable anguish was to remember what had happened and to keep it close. — Jennifer Szalai

Always Unreliable: Unreliable Memoirs, Falling Towards England and May Week Was in June

Clive james, picador, 2004.

The Australian-born critic, poet, memoirist, novelist, travel writer and translator Clive James isn’t as well known in America as he is in England, where he’s lived most of his adult life. Over there, cabdrivers know who James is: the ebullient man who hosted many comic and erudite television programs over the years. We have no one quite like him over here: Think Johnny Carson combined with Edmund Wilson.

James is the author of five memoirs, to which many readers have a cultlike devotion. The first three — “Unreliable Memoirs,” “Falling Towards England” and “May Week Was in June” — have been collected into one volume, “Always Unreliable,” and they are especially incisive and comic. In a preface to the first book, James dealt a truth few memoirists will admit: “Most first novels are disguised autobiographies. This autobiography is a disguised novel.” He’s an admitted exaggerator, but nonetheless he’s led a big life.

He was born in 1939 and grew up with an absent father, a Japanese prisoner of war. Released, his father died in a plane crash on his way home when James was 5. The author fully relives his adolescent agonies (“you can die of envy for cratered faces weeping with yellow pus”) and his rowdy troublemaking years. Later volumes take him to London and then to Cambridge University, where he edits Granta, the literary magazine, dabbles in theater (“It was my first, cruel exposure to the awkward fact that the arts attract the insane”) and gets married. He is never less than good company. — Dwight Garner

Travels With Lizbeth

Lars eighner, st. martin’s press, 1993.

Lars Eighner’s memoir contains the finest first-person writing we have about the experience of being homeless in America. Yet it’s not a dirge or a Bukowski-like scratching of the groin but an offbeat and plaintive hymn to life. It’s the sort of book that releases the emergency brake on your soul. Eighner spent three years on the streets (mostly in Austin, Tex.) and on the road in the late 1980s and early 1990s, after suffering from migraines and losing a series of jobs. The book he wrote is a literate and exceedingly humane document.

On the streets, he clung to a kind of dignity. He refused to beg or steal. He didn’t care for drugs; he barely drank. “Being suddenly intoxicated in a public place in the early afternoon,” he writes, “is not my idea of a good time.” He foraged for books and magazines as much as food, but an especially fine portion of this book is his writing about dumpster-diving. There’s the jarring impression that every grain of rice is a maggot. About botulism, he writes: “Often the first symptom is death.” There is something strangely Emersonian, capable and self-reliant, in his scavenging. “I live from the refuse of others,” he declares. “I think it a sound and honorable niche.” — Dwight Garner

Day after day I could aspire, within reason, to nothing more than survival. Although the planets wandered among the stars and the moon waxed and waned, the identical naked barrenness of existence was exposed to me, day in and day out.

—Lars Eighner, “Travels With Lizbeth”

Little, Brown & Company, 2015

The photographer Sally Mann’s memoir is weird, intense and uncommonly beautiful. She has real literary gifts, and she’s led a big Southern-bohemian life, rich with incident. Or maybe it only seems rich with incident because of an old maxim that still holds: Stories happen only to people who can tell them.

Like Mary Karr, Mann as a child was a scrappy, troublemaking tomboy, one who grew into a scrappy, troublemaking, impossible-to-ignore young woman and artist. She was raised in Virginia by sophisticated, lettered parents. When she grew too wild, they sent her away to a prep school in Vermont where, she writes, “I smoked, I drank, I skipped classes, I snuck out, I took drugs, I stole quarts of ice cream for my dorm by breaking into the kitchen storerooms, I made out with my boyfriends in the library basement, I hitchhiked into town and down I-91, and when caught, I weaseled out of all of it.”

This memoir recounts some of the Southern gothic elements of her parents’ lives. This book is heavily illustrated, and traces her growth as an artist. It recounts friendships with Southern artists and writers such as Cy Twombly and Reynolds Price. Her anecdotes have snap. About his advanced old age, in a line that is hard to forget, Twombly tells the author that he is “closing down the bodega for real.” But this story is entirely her own. — Dwight Garner

Country Girl

Edna o’brien, little, brown and company, 2013.

The enormously gifted Irish writer Edna O’Brien was near the red-hot center of the Swinging ’60s in London. She dropped acid with her psychiatrist, R.D. Laing. Among those who came to her parties were Marianne Faithfull, Sean Connery, Princess Margaret and Jane Fonda. Richard Burton and Marlon Brando tried to get her into bed. Robert Mitchum succeeded after wooing her with this pickup line: “I bet you wish I was Robert Taylor, and I bet you never tasted white peaches.”

O’Brien was born in a village in County Clare, in the west of Ireland, in 1930. This earthy and evocative book also traces her youth and her development as a writer. Her small family was religious. Her father was a farmer who drank and gambled; her mother was a former maid. She has described her village, Tuamgraney, as “enclosed, fervid and bigoted.” O’Brien didn’t attend college. She moved to Dublin, where she worked in a drugstore while studying at the Pharmaceutical College at night. She began to read literature, and she wondered: “Why could life not be lived at that same pitch? Why was it only in books that I could find the utter outlet for my emotions?” This memoir has perfect pitch. — Dwight Garner

Marjane Satrapi. Translated from the French by Mattias Ripa and Blake Ferris.

Pantheon, 2003.

At the age of 6, Marjane Satrapi privately declared herself the last prophet of Islam. At 14, she left Iran for a boarding school in Austria, sent away by parents terrified of their outspoken daughter’s penchant for challenging her teachers (and hypocrisy wherever she sniffed it out). At 31, she published “Persepolis,” in French (it was later translated into English by Mattias Ripa and Blake Ferris), a stunning graphic memoir hailed as a wholly original achievement in the form.

There’s still a startling freshness to the book. It won’t age. In inky shadows and simple, expressive lines — reminiscent of Ludwig Bemelmans’s “Madeline” — Satrapi evokes herself and her schoolmates coming of age in a world of protests and disappearances (and scoring punk rock cassettes on the black market).

The revolution, the rise of fundamentalism, a brutal family history of torture, imprisonment and exile are conveyed from a child’s perspective and achieve a stark, shocking impact. — Parul Sehgal

Margo Jefferson

Pantheon, 2015.

The motto was simple in Margo Jefferson’s childhood home: “Achievement. Invulnerability. Comportment.” Her family was part of Chicago’s black elite. Her father was the head pediatrician at Provident, America’s oldest black hospital; her mother was a socialite. They saw themselves as a “Third Race, poised between the masses of Negroes and all classes of Caucasians.” Life was navigated according to strict standards of behavior and femininity. Jefferson writes of the punishing psychic burden of growing up feeling that she was a representative for her race and, later, of nagging, terrifying suicidal impulses.

Jefferson won a Pulitzer Prize in 1995 for her book reviews in The New York Times. “Negroland” is an extended form of criticism that dances between a history of social class to a close reading of her mother’s expressions; the information calibrated in a brow arched “three to four millimeters.”

The prose is blunt and evasive, sensuous and ascetic, doubting and resolute — and above all beautifully skeptical of the genre, of the memoir’s conventions, clichés and limits. “How do you adapt your singular, willful self to so much history and myth? So much glory, banality, honor and betrayal?” she asks. This shape-shifting, form-shattering book carves one path forward. — Parul Sehgal

25 More Great Memoirs

Presented in Alphabetical Order by Author

Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys.

Viv albertine, thomas dunne books/st. martin’s press, 2014.

Viv Albertine participated in the birth of punk in the mid-1970s. She was in a band with Sid Vicious before he joined the Sex Pistols. She dated Mick Jones while he was putting together his new band, the Clash. She could barely play guitar, yet she became the lead guitarist for the Slits. Her memoir is wiry and fearless. It contains story after story about men who told her she couldn’t do things that she did anyway. Her life up to the breakup of the Slits occupies only half of the book. There’s a lot of pain in the second section: loneliness, doubt, a bad marriage, cancer, depression. Throughout, this account has an honest, lo-fi grace.

Martin Amis

Talk miramax books/hyperion, 2000.

In this memoir, the acclaimed author of “London Fields,” “Money” and other novels decided, he writes, “to speak, for once, without artifice.” The entertaining, loosely structured result is movingly earnest and wickedly funny. It includes a portrait, both cleareyed and affectionate, of the author’s father, the comic novelist and poet Kingsley Amis. In addition, “Experience” offers more vivid and harrowing writing about dental problems than you might have thought one person capable of producing.

Slow Days, Fast Company

Alfred a. knopf, 1977.

The Los Angeles-born glamour girl, bohemian, artist, muse, sensualist, wit and pioneering foodie Eve Babitz writes prose that reads like Nora Ephron by way of Joan Didion, albeit with more lust and drugs and tequila. “Slow Days, Fast Company” and “Eve’s Hollywood,” the book that preceded it, are officially billed as fiction, but they are mostly undisguised dispatches from her own experiences in 1970s California. Reading her is like being out on the warm open road at sundown, with what she called “4/60 air-conditioning” — that is, going 60 miles per hour with all four windows down. You can feel the wind in your hair.

Russell Baker

Congdon & weed, 1982.

Russell Baker’s warm and disarmingly funny account of his life growing up in Depression-era America has garnered comparisons to the work of Mark Twain. The book quickly became a beloved best seller when it was published, and went on to win the Pulitzer Prize for biography. Baker was born into poverty in Virginia in 1925. He was 5 years old when his father, then 33, fell into a diabetic coma and died. The author’s strong, affectionate mother is a major presence in the book. Baker, a longtime humorist and columnist for The New York Times, died in January at 93.

Kafka Was the Rage

Anatole broyard, carol southern books/crown publishers, 1993.

Anatole Broyard, a longtime book critic and essayist for The New York Times, died in 1990 of prostate cancer. What he had finished of this memoir before his death mostly concerned his time living in the West Village after World War II. “A war is like an illness,” he writes, “and when it’s over you think you’ve never felt so well.” He writes about the vogue for psychoanalysis, his experience opening a used-book store and, primarily, his formative relationship with the artist Sheri Martinelli (her pseudonym in the book is Sheri Donatti). The book was truncated, but the writing in it is brilliant and often epigrammatic: “I just want love to live up to its publicity.”

Between the World and Me

Ta-nehisi coates, spiegel & grau, 2015.

Ta-Nehisi Coates’s book, in the form of a letter to his son, is a scalding examination of his own experience as a black man in America, and of how much of American history has been systemically built on exploiting and committing violence against black bodies. Inspired by a section of James Baldwin’s “The Fire Next Time” that was addressed to the author’s nephew, Coates’s book is a powerful testimony that will continue to have a profound impact on discussions about race in America.

The Year of Magical Thinking

Joan didion, alfred a. knopf, 2005.

Joan Didion, so long an exemplar of cool, of brilliant aloofness, showed us her unraveling in this memoir about the sudden death of her husband of 40 years, the writer John Gregory Dunne, and the frightening illness of her daughter, Quintana. It’s a troubled, meditative book, in which Didion writes of what it feels like to have “cut loose any fixed idea I had ever had about death, about illness, about probability and luck, about good fortune and bad.”

Barbarian Days

William finnegan, penguin press, 2015.

This account of a lifelong surfing obsession won the Pulitzer Prize in biography. William Finnegan, a longtime staff writer for The New Yorker, recalls his childhood in California and Hawaii, his many surfing buddies through the years and his taste for a kind of danger that approaches the sublime. In his 20s, he traveled through Asia and Africa and the South Pacific in search of waves, living in tents and cars and cheap apartments. One takes away from “Barbarian Days” a sense of a big, wind-chapped, well-lived life.

Personal History

Katharine graham, alfred a. knopf, 1997.

Katharine Graham’s brilliant but remote father, Eugene Meyer, capped his successful career as a financier and public servant by buying the struggling Washington Post in 1933 and nursing it to health. Graham took command of the paper in 1963, and steered it through the Watergate scandal and the end of Richard Nixon’s presidency, among other dramas. Her autobiography covers her life from childhood to her command of a towering journalistic institution in a deeply male-dominated industry. Her tone throughout is frank, self-critical, modest and justifiably proud.

Thinking in Pictures

Temple grandin, doubleday, 1995.

Memoirs are valued, in part, for their ability to open windows onto experiences other than our own, and few do that as dramatically as Temple Grandin’s “Thinking in Pictures.” Grandin, a professor of animal science who is autistic, describes the “library” of visual images in her memory, which she is constantly updating. (“It’s like getting a new version of software for the computer.”) As Oliver Sacks wrote in an introduction to the book, “Grandin’s voice came from a place which had never had a voice, never been granted real existence, before.”

Autobiography of a Face

Lucy grealy, houghton mifflin, 1994.

When she was 9 years old, Lucy Grealy was stricken with a rare, virulent form of bone cancer called Ewing’s sarcoma. She had radical surgery to remove half of her jaw, and years of radiation and chemotherapy, and recovered. She then endured a sense of disfigurement and isolation from other children. She became an accomplished poet and essayist before dying at 39 in 2002. Although entitled to self-pity, Grealy was not given to it. This memoir is a moving meditation on ugliness and beauty. Grealy’s life is the subject of another powerful memoir, Ann Patchett’s “Truth & Beauty,” which recounts the friendship between the two writers.

Dancing With Cuba

Alma guillermoprieto. translated from the spanish by esther allen., pantheon, 2004.

Alma Guillermoprieto was a 20-year-old dance student in 1969, when Merce Cunningham offered to recommend her for a teaching job at the National Schools of the Arts in Havana. This memoir is her account of the six months she spent there, a frustrating and fascinating time that opened her eyes to the world beyond dance. Eventually, political turmoil, piled on top of loneliness, youthful angst and assorted romantic troubles, led the author to the edge of a nervous breakdown. This remembrance is a pleasure to read, full of humanity, sly humor, curiosity and knowledge.

Minor Characters

Joyce johnson, houghton mifflin, 1983.

Joyce Johnson was 21 and not long out of Barnard College when, in the winter of 1957, Allen Ginsberg set her up on a blind date with Jack Kerouac, who was 34 and still largely unknown. Thus began an off-and-on relationship that lasted nearly two years, during which time “On the Road” was published, leading to life-altering fame — not only for Kerouac but many of his closest friends. Johnson’s book about this time is a riveting portrait of an era, and a glowing introduction to the Beats. It’s a book about a so-called minor character who, in the process of writing her life, became a major one.

The Memory Chalet

Penguin press, 2010.

The historian Tony Judt, who was known for his incisive analysis of current events and his synthesizing of European history in books like “Postwar,” wrote this book of autobiographical fragments after he was stricken with amyotrophic lateral sclerosis and had become “effectively quadriplegic.” He would think back over his life in the middle of the night, shape those memories into stories and dictate them to an assistant the next day. “The Memory Chalet,” the resulting unlikely artifact, ranges over Judt’s boyhood in England; the lives of his lower-middle-class Jewish parents; life as a student and fellow at King’s College, Cambridge, in the 1960s and early ’70s; and his life in New York City, where he eventually settled and taught.

Kiese Laymon

Scribner, 2018.

The most recently published entry on this list of 50 books, Kiese Laymon’s “Heavy” details the author’s childhood in Mississippi in the 1980s and his relationship with his alternately loving and abusive mother, who raised him on her own. It’s full of sharp, heart-rending thoughts about growing up black in the United States, and his fraught relationship with his body — Laymon’s weight has severely fluctuated over the years, a subject he plumbs with great sensitivity. This is a gorgeous, gutting book that’s fueled by candor yet freighted with ambivalence. It’s full of devotion and betrayal, euphoria and anguish.

Priestdaddy

Patricia lockwood, riverhead books, 2017.

Patricia Lockwood, an acclaimed poet, weaves in this memoir the story of her family — including her Roman Catholic priest father, who received a special dispensation from the Vatican — with the crisis that led her and her husband to live temporarily under her parents’ rectory roof. The book, consistently alive with feeling, is written with elastic style. And in Lockwood’s father, Greg, it has one of the great characters in nonfiction: He listens to Rush Limbaugh while watching Bill O’Reilly, consumes Arby’s Beef ’n Cheddar sandwiches the way other humans consume cashews and strides around in his underwear. Hilarious descriptions — of, to take one example, Greg’s guitar playing — alternate with profound examinations of family, art and faith.

H Is for Hawk

Helen macdonald, grove press, 2015.

When we meet Helen Macdonald in this beautiful and nearly feral book, she’s in her 30s, with “no partner, no children, no home.” When her father dies suddenly on a London street, it steals the floor from beneath her. Obsessed with birds of prey since she was a girl, Macdonald was already an experienced falconer. In her grief, seeking escape into something, she began to train one of nature’s most vicious predators, a goshawk. She unplugged her telephone. She told her friends to leave her alone. Nearly every paragraph she writes about the experience is strange in the best way, and injected with unexpected meaning.

The Color of Water

James mcbride, riverhead books, 1996.

This complex and moving story, which enjoyed a long run on best-seller lists, is about James McBride’s relationship with his mother, Ruth, the daughter of a failed itinerant Orthodox Jewish rabbi. She fervently adopted Christianity and founded a black Baptist church in the Red Hook section of Brooklyn with McBride’s father. The book is suffused with issues of race, religion and identity, and simultaneously transcends those issues to be a story of family love and the sheer force of a mother’s will.

Angela’s Ashes

Frank mccourt, scribner, 1996.

“When I look back on my childhood I wonder how I survived at all,” Frank McCourt writes near the beginning of his Pulitzer Prize-winning memoir. His parents had immigrated to New York, where McCourt was born, but soon moved back to Ireland, where they hoped relatives could help them with their four children. Having returned, they experienced crushing poverty. The book did perhaps more than any other to cement the 1990s boom in memoir writing — and reading. It features a Dickensian gallery of schoolmasters, shopkeepers and priests, in addition to McCourt’s unforgettable family.

Cockroaches

Scholastique mukasonga. translated from the french by jordan stump., archipelago books, 2016.

Thirty-seven of Scholastique Mukasonga’s family members were massacred in the Rwandan genocide in the spring of 1994, when the Hutu majority turned on their Tutsi neighbors, killing more than 800,000 people in 100 days. “Cockroaches” is Mukasonga’s devastating account of her childhood and what she was able to learn about the slaughter of her family. (“Cockroach” was the Hutu epithet of choice for the Tutsis.) It is a compendium of unspeakable crimes and horrifically inventive sadism, delivered in an even, unwavering tone.

Keith Richards

Little, brown & company, 2010.

In “Life,” the Rolling Stones guitarist writes with uncommon candor and immediacy — with the help of the veteran journalist James Fox — about drugs and his run-ins with the police; about the difficulties of getting and staying clean; and about the era when rock ’n’ roll came of age. He spares none of his thoughts, good and bad, about Mick Jagger. He also describes the spongelike love of music that he inherited from his grandfather, and his own sense of musical history — his reverence for the blues and R&B masters he has studied his entire life.

A Life in the Twentieth Century

Arthur schlesinger jr., houghton mifflin company, 2000.

Arthur Schlesinger Jr., a prizewinning historian who served in John F. Kennedy’s White House, here writes about the first 33 years of his life, from his birth in 1917 — the year the United States entered World War I — to 1950 and the beginnings of the Cold War. The son of an acclaimed historian, Schlesinger was born into great privilege. He went on a yearlong trip around the world between graduating from prep school and attending Harvard. This book has incisive things to say about the large themes of world history, including isolationism and interventionism, and about many other subjects besides, including the films of the 1930s.

Edmund White

Ecco/harpercollins publishers, 2006.

“My Lives” is broken into chapters whose headings follow a clever formula: “My Shrinks,” “My Mother,” “My Father,” “My Hustlers” ... But these seemingly narrow-focus, time-hopping slices add up to a robust autobiography. Edmund White’s portraits of his parents and their lives before him are novelistic; his writing about his own sexual experiences is exceedingly candid. Reviewing the book for The Guardian, the novelist Alan Hollinghurst said that “no other writer of White’s eminence has described his sexual life with such purposeful clarity.”

Why Be Happy When You Could Be Normal?

Jeanette winterson, grove press, 2012.

This memoir’s title is the question Jeanette Winterson’s adoptive mother asked after discovering her daughter was a lesbian. Winterson’s mother loomed over her life, as she looms over this book. In a quiet way she is one of the great horror mothers of English-language literature. When she was angry with her daughter, she would say, “The Devil led us to the wrong crib.” This memoir’s narrative includes Winterson’s search for her birth mother and the author’s self-invention, her intellectual development. The device of the trapped young person saved by books is a hoary one, but Winterson makes it seem new, and sulfurous.

Close to the Knives

David wojnarowicz, vintage, 1991.

David Wojnarowicz, who died at 37 in 1992, was a vital part of the East Village art scene of the 1980s that also produced Keith Haring, Jenny Holzer, Jean-Michel Basquiat and others. He was a painter, photographer, performance artist, AIDS activist and more — including writer. This work of hard-living autobiography is written in a flood of run-on sentences, and in a tone of almost hallucinatory incandescence. A typical sentence begins: “I remember when I was 8 years old I would crawl out the window of my apartment seven stories above the ground and hold on to the ledge with 10 scrawny fingers and lower myself out above the sea of cars burning up Eighth Avenue ...”

Share your picks on social media or email them to yourself as a reading list.

Designed and produced by Kevin Zweerink, Erica Ackerberg, and John Williams

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Autobiography vs Memoir: Which One Should You Write?

POSTED ON Jul 27, 2023

Written by Sarah Rexford

There is often a lot of confusion when it comes an autobiography vs memoir. While both are true stories about an individual, they share different story arcs and structures.

If you want to write a story about your life, it's important to understand the difference between memoir and autobiography, which is what we will delve into today. After you read our article on autobiography vs memoir, you'll be able to write your life story with clarity and confidence.

Maybe your life story is unique. You want to share it and leave a lasting legacy behind. Well, it’s time to start the process. It’s time to write your story. 

Before sitting down to write, it’s important to articulate to yourself what you specifically want to share and why. Just as writing a fiction book demands planning and deciding exactly where to start and what theme to write about, so does writing your life story. 

Whatever your story is, it will likely fall under the category of memoir or autobiography. 

The most important choice to make prior to writing your opening sentence is deciding which genre (in the giant list of book genres ) you are going to share your story through.

It’s crucial to choose the correct genre in which to tell your story. Autobiographies vs memoirs each have different purposes. 

Using an autobiography when you want to communicate your memoir is similar to filming a documentary when you want to film a drama. 

Documentaries usually cover many details of a specific time period and are told through a linear fashion. They start at a single point in time and work their way to the end of a time period or to the present day.

Dramas focus on a theme and use specific aspects of a person’s life to articulate and highlight this theme. 

Autobiographies vs memoirs are much the same. 

Need A Nonfiction Book Outline?

This autobiography vs memoir guide will cover:

Autobiography vs memoir: the difference explained.

While both genres are personal stories, the difference between memoir and autobiography is distinct.

According to Merriam-Webster, a memoir is, “A narrative composed from personal experience” and an autobiography is, “The biography of a person narrated by that person, a usually written account of a person's life in their own words.” 

In the publishing world, a memoir is a book about you that is focused on the reader. In other words, it’s pieces of your life story written with the intention of communicating a specific message to a specific audience. 

An autobiography is your life story from birth to present day, including all major events, without too much thought for theme. 

The purpose of an autobiography is simply to communicate your life story . 

The purpose of a memoir is to communicate a theme, and use stories from your life to do so.

This is the main difference between memoir and autobiography.

Both memoirs and autobiographies should be written with the focus on the reader, however. Writing succeeds because of readers. Whether you’re covering your life from birth to now, or sharing specific stories, keep the reader at the forefront of your mind at all times. 

The more you think “reader first” the better your writing will be, regardless of whether you are writing an autobiography vs memoir. 

When should I write an autobiography vs memoir?

Celebrities and well-known figures often communicate their life stories through autobiographies, while lesser known individuals communicate a theme through specific stories from their lives. 

The public wants to know the details of celebrities’ lives and is willing and eager to read through all the details of their growing up years, young adult successes and failures, and all the way to the present day.

Individuals with less of a public presence who still have valuable stories, information, or an important theme to share, may want to do so through memoirs. This way they can still communicate their message, but use life stories that directly apply to this message to do so.

Learning how to write a memoir allows you to use anecdotes from your life to communicate your theme. Remember, if you aren’t a household name, readers are unlikely to be interested in your stories if they don’t provide some type of value.

Always think reader-first with these questions:

• Is your theme focused on helping the reader?
• What stories contribute to the power of your theme?
• What stories distract from your theme and shift the focus to you? 
• Will your reader walk away feeling empowered or inspired? 

When writing an autobiography, it’s still important to think of the reader first. But readers are more likely to expect stories that focus on your life and the interesting things you’ve done in an autobiography vs memoir.

If you are a celebrity or household name, writing your autobiography is likely the way to go. Otherwise, you should use creative nonfiction writing skills to make your memoir as interesting and impactful as possible.

Two things to remember when writing your life story

Whether you are writing an autobiography vs memoir, here are two important things to consider:

1. Portray the basic essence of life events

While autobiographies and memoirs are about your life and your interactions, achievements, goals, failures, etc., it’s impossible to remember every word of dialogue you and others have spoken. Readers understand that exact wording has been written to the best of your memory, but is not exact.

Be careful to write in a way that reflects the attitudes and intentions of the dialogue in that moment, however many years ago it took place, but rest assured the dialogue in memoirs and autobiographies cannot be completely accurate. 

Sharing your story with the world is a bold step. It’s brave to think through your life and write it all down for hundreds (if not millions) to read.

As you plunge into your story, whether it be autobiography vs memoir, writing, editing, and eventually self-publishing it will take time. Don’t get discouraged if you need to rearrange parts, chop large portions, or add stories when you think you are finished. 

Writing your story takes time . It’s your life, after all! Just make sure you capture the basic essence of your life events in an authentic manner.

2. Change names of people and locations

While I just said to be authentic, it's also important to have some protections in place.

Whether you write an autobiography vs memoir, protect yourself and others by changing names, locations, and any other detail as you see fit. You can make a simple note at the front of your book explaining that some details have been changed to protect individuals. The last thing you want is to be accused of libel or slander the week your book comes out. 

As you work towards your book launch , enjoy the process. Writing your story is something many dream of, few start, and even less complete. You didn’t just have the dream, you saw it through to its completion. 

You took a big step. Whether you chose to embark on an autobiography vs memoir, you are writing your story and putting it out into the world. Your legacy will have the possibility of impacting countless individuals around the world for years to come – and that's extremely exciting!

If you're still not certain on the difference between an autobiography vs memoir (or if what you are writing is an autobiography vs memoir) let's take a look at some examples of each.

Examples of memoirs

If you plan to write your memoir, reading other successful memoirs is a great place to start.

Here are some examples to get you started:

• O n Writing: A Memoir of the Craft , by Stephen King
• The Glass Castle , by Jeannette Walls
• Writing For the Soul , by Jerry B. Jenkins
• All Over but the Shoutin’ , by Rick Bragg
• Running for My Life , by Lopez Lomong

As you read, focus on what the theme is, what stories the author uses to illustrate this theme, and how the story isn’t focused just on the author, but on you, the reader.

Again, think reader first.

It may be helpful to take notes so that when it’s time to write your own memoir, you have examples to refer back to as needed. This will help you when you feel stuck or unsure of which stories to use. 

You can also reference our memoir outline to help you in your writing process.

Examples of autobiographies 

If, on the other hand, you decide to write your autobiography vs memoir, you’ll want to brush up on autobiographies and biographies instead. 

Whether you pick up an autobiography or a biography, the same lessons can be learned: 

• Narrative of the Life of Frederick Douglass, an American Slave , by Frederick Douglass
• Autobiography of Mark Twain , Samuel Clemmons 
• Let Us Now Praise Famous Men , by James Agee
• Churchill: A Life , by Martin Gilbert

As you write your autobiography, remember that although it is about you, you should still think reader first. Write in a way that readers will be able to easily understand and follow. Starting at birth and moving forward chronologically will likely work well when writing an autobiography vs memoir.

Share your story with the world

Now that you know the difference between an autobiography vs memoir, it’s time to start the writing process. 

Regardless of which you decide to write, take some time to think back over your life, years or weeks that affected you in a particularly positive or negative way, people who influenced you, the themes you see tracing through your story, and dreams or goals you worked for. 

Once you have the big moments at the forefront of your mind you can start planning your creative autobiography or memoir ideas . If you need more inspiration on how to share your story, you can use our nonfiction book outline below.

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Memoir vs. Autobiography: What’s the Difference?

They say everyone has a story to tell, and I absolutely believe that. But some folks have a story to tell about their own lives. They’ve experienced things and learned lessons that are worth sharing with other people.

That’s pretty freaking cool.

When you want to tell a personal narrative, you have a few options: a blog, a YouTube channel , even a diary. But if you want to turn it into a book, you have two options to consider:

A memoir or an autobiography.

While these two genres might seem similar, there are quite a number of meaningful differences you must know if you want to be successful in either—or if you just want to figure out what you’re going to write.

We’ll cover all that and more in this article. “And more” includes a history of these genres, tips for each, how to choose between memoir and autobiography writing, and pulling everything together.

You have that story to tell, so let’s figure out how to do it.

Defining Your Life Story: Memoirs and Autobiographies

Understanding the distinction between a memoir and an autobiography is a must for any writer venturing into personal narrative writing. 

While both genres share the common element of being based on the author's life experiences, the scope and focus of each are quite different.

Memoirs are a form of creative nonfiction where the writer shares specific experiences or periods from their life. These works are less about the chronology of the author's life and more about personal reflections, emotions, and insights. 

Memoirs often include a focus on specific themes or events, allowing the author to delve deeply into their experiences with a reflective and often emotional lens, and are written more like a fictional story than nonfiction.

Autobiographies, on the other hand, provide a more comprehensive view of the author's life. They typically follow a chronological format, documenting the author's life from early childhood to the present. 

Autobiographies are characterized by their detailed recounting of life events to encompass personal, professional, and sometimes public aspects of the author’s journey. The autobiography format emphasizes factual storytelling.

Memoir readers aren’t looking for a play-by-play of your life. They’re after the deeper meaning and themes behind your experiences and are more okay with stylistic choices and some interpretation of events.

Folks reading autobiographies are all about knowing what you did and why.

The History of Writing About A Person’s Life

While they’re both staples in modern literature, these genres have roots deeply embedded in history.

Which means as people, we like talking about ourselves.

That’s not a bad thing, don’t get me wrong; we all lead extraordinary, unique lives and have important things to share. And share we have.

Understanding how memoirs and autobiographies have been used historically can help us understand their current forms, too.

Memoirs have transformed quite a bit over time. Originating from the ancient practice of documenting noteworthy events (with that grandiose, fictional spin), they evolved during the Renaissance as a way for individuals to share their experiences and perspectives, often focusing on public life.

In the 18th and 19th centuries, memoirs became more personal, reflecting individual experiences and internal landscapes. This evolution paved the way for the modern memoir, which often blurs the lines between factual recounting and creative storytelling. Honestly, this works best for readers seeking emotional truth and personal growth.

Autobiographies have a lineage that can be traced back to religious and political leaders documenting their lives as a record of moral and ethical standards. You know, bragging about how good they are.

In the 18th century, with the rise of literacy and individualism, autobiographies became a tool for self-expression and identity exploration. This genre gained momentum in the 20th century, with notable figures from various fields chronicling their journeys, making it a popular way for exploring the complexities of human experience.

Both styles of work have been instrumental in our understanding of the past, too. Even memoirs, with their emphasis on storytelling, give us a glimpse into the lives of individuals and societies as a whole.

Writing a Memoir: Tips and Techniques

Diving into memoir writing can be equal parts thrilling and terrifying. It's not just about recounting events; it's about turning your experiences into a story that vibes with readers. 

Here are some tips and techniques to guide you:

• Find your focus - Unlike autobiographies, memoirs don't require you to detail your entire life. Pinpoint a specific theme, event, or period that holds significant meaning. This focus will be the heart of your memoir.
• Embrace emotional honesty - Memoirs thrive on emotional depth. Be honest about your feelings and experiences. This authenticity is what will connect with your readers.
• Show, don't just tell - Universally solid writing advice. Use descriptive language and sensory details to bring your story to life. Paint pictures with your words to immerse the reader in your world. Need some practice? Check out these worksheets .
• Incorporate reflective elements - A memoir is more than a series of events. It's an introspective journey. Reflect on your experiences, what you learned, and how they shaped you. This is what your readers are here for.

• Consider a non-linear structure - While some memoirs follow a chronological order, feel free to experiment with the structure. A non-linear approach can add intrigue and highlight how past events influence the present. Make sure to get lots of beta reader feedback to make sure your story still makes sense.
• Get personal, but stay relatable - While your memoir is deeply personal, aim to connect your experiences to universal themes. This relatability makes your story more impactful. Here’s a complete guide for writing themes .
• Revise with care - Memoirs often blend fact and narrative flair. In your revisions, balance creativity with accuracy. Remember, the essence of your truth is what matters most, so don’t let it get lost in your fictionalization.

Memoir writing is not just about telling your story; it's about sharing your perspective on life, with all its complexities and nuances. Each memoir is a unique window into a life, offering insights and reflections that no other story can.

My pal Abi has a great guide to writing memoirs you should bookmark if this is something you’re serious about.

Crafting an Autobiography: Structure and Elements

Writing an autobiography involves a different set of considerations compared to memoirs. It's about presenting the entirety of your life's journey with clarity and structure. 

Here are key elements and structural ideas to consider:

• Outline the chronology - Autobiographies typically follow a chronological order, leading your reader through your life's journey. Map out the key events from your early years to the present, creating a timeline that serves as your narrative backbone.
• Detail significant events - Highlight the pivotal moments in your life, both personal and professional. These events should not only tell what happened but also detail their impact and the lessons you learned from them.
• Develop a consistent theme - While covering all the cool stuff you’ve done (or things you’ve endured), maintain a consistent theme or message throughout your autobiography. This theme makes the whole story worth reading.
• Incorporate character development - Show how you evolved over time. This character arc is crucial in autobiographies because it shows how experiences shaped your personality, beliefs, and decisions.
• Be factual, yet engaging - Autobiographies require factual accuracy, but that doesn't mean they should be dry. Use engaging storytelling techniques to bring your experiences to life, making your narrative both informative and captivating. Here’s an article to help you focus on your prose.
• Include supporting characters - Your life's story is also about the people who influenced you. Include these characters, describing their roles and the dynamics in your relationships with them. An autobiography is still a story, and supporting characters make stories great.
• Reflect on your journey - Offer reflections on your experiences, providing insights into how they influenced your current perspective. This reflective angle adds depth to the factual recounting of events and should be directly tied to your themes.
• Edit for coherence and clarity - Ensure that your autobiography is not just a collection of events but a cohesive tale. In editing , focus on clarity, coherence, and the overall flow of your story.

Crafting an autobiography is an opportunity to not only share your life story but also to reflect on the journey and its broader implications. It's a chance to offer a detailed, introspective look at the milestones that have defined you.

Which, admittedly, sounds intimidating, but putting in the effort can result in a book that changes both your life and a reader’s.

Choosing Your Approach to Creative Nonfiction

When it comes to sharing your life story, deciding between a memoir and an autobiography isn’t always an easy decision. This choice influences not only the structure and focus of your work but also how your readers will connect with your story. 

Here are some considerations to help you decide:

Understand your objective - Consider what you wish to achieve with your book. Are you looking to explore a particular aspect of your life with emotional depth (memoir) or do you intend to provide a comprehensive account of your life’s journey (autobiography)?

Assess your content - Reflect on the events and experiences you want to share. A memoir suits a more focused, thematic exploration, while an autobiography is ideal for a broader, chronological recounting.

Consider your audience - Think about who you're writing for. Memoir readers choose their books because they’re interested in the theme, topic, or story rather than the person. Autobiography readers tend to make purchases based on who they’re reading about. If you don’t have some fame or following, an autobiography might be a hard sell.

Reflect on your writing style - Your natural writing style can also guide your choice. If you lean towards reflective, emotive storytelling, a memoir might be your forté. If you're more comfortable with factual, chronological narratives, consider an autobiography.

Flexibility vs. structure - Memoirs offer more creative flexibility in structure and storytelling, allowing for a more literary approach. Autobiographies, being more factual and chronological, require a structured approach to storytelling.

Personal comfort - Consider your comfort level with vulnerability and personal disclosure. Memoirs require a deeper dive into personal experiences and emotions. Autobiographies, while personal, can let you use a more observational tone.

Remember, the choice between a memoir and an autobiography is not just about the story you want to tell but about how you want to tell that story. Your decision will shape both the way you write your story and how your readers interpret it.

Best Practices for Personal Narrative Writing

Whether you choose to write a memoir or an autobiography, certain best practices can enhance your storytelling and connect more deeply with your readers. 

First, stay authentic . Authenticity is the cornerstone of personal narrative writing. Your readers are seeking truth in your story, even if it's presented through a subjective lens. Be genuine in your recounting, and don't shy away from your unique voice.

You also want to engage your readers emotionally . Whether it's through humor, sorrow, inspiration, or reflection, emotional resonance makes your story memorable and impactful. One of the best ways to suck them in is to use descriptive language to create vivid scenes and characters. This immerses the reader in your world, making your experiences and memories come alive.

Remember, these are both still stories and thus have a cohesive plot. Ensure your story has a clear beginning, middle, and end . Even if you choose a non-linear structure, maintaining a coherent narrative flow is essential for keeping your readers engaged. If you need some help with story structure, you know we have your back with this guide .

Dialogue can be a powerful tool in personal narratives. It brings dynamism to the story and offers insights into characters and relationships. Don’t neglect good dialogue just because you aren’t writing fiction.

Personal narratives aren’t just about what happened; they’re about what those events mean. Include your reflections and analysis to provide depth and context to your experiences, but do it in a way that flows and feels natural. This is obviously more important in memoirs, but your autobiography needs to have reflection, too.

Finally, when writing about real people and events, consider the implications of sharing private information. Respect the privacy of others and navigate sensitive topics with care.

Personal narrative writing is a journey of exploration, both for you as a writer and for your readers. By incorporating these best practices, you can create a story that’s not only engaging and informative but also profoundly moving.

And that’s the whole point.

Reflective Writing and Authorial Perspective in Personal Narratives

The heart of a compelling personal story, be it a memoir or an autobiography, lies in its reflective writing and your authorial perspective. These are the elements that make memoirs and autobiographies unique from other genres. And it’s what our readers are looking for. 

Here are five final tips to make best use of these elements:

Embrace reflective writing - Reflective writing involves looking back at your experiences and analyzing their impact. It's about understanding the why behind the what. This critical thinking transforms your writing from a simple plot into a journey of personal growth and understanding.

Cultivate a strong authorial voice - While an author’s voice is always important, it does extra work with these genres. It conveys your unique perspective and personality. A strong, consistent voice helps readers connect with your story on a deeper level. And, if you need help refining or developing your voice and tone, click here .

Integrate insights and learnings - Your story should offer insights and learnings, not just for yourself but also for your readers. Share the wisdom gained from your trials and adventures. Turn your personal journey into a relatable, universal tale of human experience.

Use reflection to drive the narrative - Let your reflections and insights drive the plot forward. Your personal growth is just as important in these stories as a fictional character’s arc is in a fantasy epic or hockey romcom. What you learn and realize should push the plot.

Engage the reader with thoughtful questions - Sometimes, posing questions can be more powerful than providing answers. Use reflective questions to engage your readers and prompt them to think about their own experiences and perspectives.

Memoirs and Autobiographies are Still Stories

I know I’ve said this a bunch of times already, but this is something you need to permanently imprint in your writing brain: both memoirs and autobiographies rely on the same core elements as any other story.

It doesn’t matter that they’re based on real life. You still need to understand plot, character development, themes, settings, conflicts, metaphors, point of view, writing habits, and so much more. Then you need to layer everything we’ve discussed here on top of that.

I mentioned equal parts thrilling and terrifying before, right?

Don’t worry, though, because we’ve got you covered. I’ve already given you a bunch of links to relevant guides in this article, but you’ll find hundreds—yes, I’m talking triple digits!—for free over at DabbleU .

And speaking of free, you can click here to get a 100+ page e-book to help you go from idea to finished draft, also for zero dollars and zero cents. Now the only thing left to do is tell your life’s story.

Thrilling. Terrifying. Pretty dang cool.

Doug Landsborough can’t get enough of writing. Whether freelancing as an editor, blog writer, or ghostwriter, Doug is a big fan of the power of words. In his spare time, he writes about monsters, angels, and demons under the name D. William Landsborough. When not obsessing about sympathetic villains and wondrous magic, Doug enjoys board games, horror movies, and spending time with his wife, Sarah.

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The Fundamental Differences between Memoir and Autobiography

Why Us? - Author Resources

The line between memoir and autobiography is a fuzzy one, especially in this modern literary era where writers are constantly blurring the boundaries between genres to create a new, exciting one. Like an autobiography, a memoir is a narrative that reveals experiences within the author's lifetime. But there are obvious and practical differences between the two similar genres.

In essence, an autobiography is a chronological telling of one's experience, which should include phases such as childhood, adolescence, adulthood, etc., while a memoir provides a much more specific timeline and a much more intimate relationship to the writer's own memories, feelings and emotions.

Memoirs are typically

• less formal
• less encompassing
• more concerned with emotional truth toward a particular section of one’s life and how it makes you feel now
• less obsessed with factual events
• written by the subject

Autobiography is essentially

• written by the main character or at least drafted with a collaborative writer
• made up of detailed chronology, events, places, reactions, movements and any other relevant information that inhabited the life of the subject
• focused on facts - fact, above all, is its foundation

In his own memoir, Palimpsest , Gore Vidal gave his own definitions of the two genres stating, "a memoir is how one remembers one's own life, while an autobiography is history, requiring research, dates, facts double-checked."

With these basic definitions and comparisons, think about your own work. What is most important to your story: emotion or fact? Think about your intended audience and what they would find most interesting.

Whether you're curious to learn more, or you're ready to get started publishing, take the first step by claiming your free publishing guide .

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Memoir vs. Autobiography: Navigating the Differences Between Personal Life Stories

• September 28, 2023

Table of Contents:

What exactly is a memoir, what does an autobiography mean, potential differences between memoir vs. autobiography:, perspective:, autobiography:, narrative style:, key characteristics and profound details, final words:.

The difference between an autobiography and a memoir is often misunderstood. Both are based on real events and characters but follow distinct plot lines and narrative frameworks.

Understanding the distinction between memoir vs. autobiography is crucial to creating a story based on your experiences.

It is more personal and close than an autobiography. The word “memoir,” which comes from the French word mémoire and means “memory” or “reminisce,” is also used. Many people like it because it lets authors use their life experiences to write a story that helps or inspires others.

Memoirs can be about a lot of different things. You can write about your youth, an important event as an author, or any other time that made you who you are now.

Understanding the differences between memoir vs. autobiography is another great way to describe yourself. It’s okay to talk about what you know about yourself. Furthermore, you can discuss issues that interest you and your audience.

When someone writes about their life, it’s a personal story. You observe your life when you write a book because you lived it.

Its roots are in the Greek words “auto” and “graphy,” which mean “self-writing” or “writing about oneself.” It tells about the author’s family history, relationships, schooling, and work, among other things.

An autobiography tells stories from the first-person point of view. A famous person, like a leader, artist, scientist, or teacher, usually writes it. There are many reasons to write it; you can also consider autobiography writing services for error-free writing.

Some writers also use it to talk about their political or religious ideas. Some people use it to get the word about their ideas, goods, or services.

Memoir and autobiography are both genres of literature that tell the story of someone’s life, but they have distinct differences in focus, scope, and narrative style.

Below are some prominent differences between memoir vs. autobiography:

• Well-known individuals, such as public figures, celebrities, or historical figures, often write autobiographies.
• They provide readers with a comprehensive understanding of the author’s life, covering everything from childhood to adulthood.
• The narrative typically follows a chronological order, presenting a factual and detailed account of events.
• Autobiographies often aim to offer insight into the author’s character, motivations, and the influences that shaped them.
• On the other hand, memoirs can be written by individuals from various backgrounds and may not necessarily be widely known.
• A memoir focuses on a specific aspect of the author’s life, such as a particular period, a significant event, or a theme like personal growth or overcoming challenges.
• Memoirs may not follow a strictly chronological structure; instead, they may use a more thematic or narrative-driven approach.
• Authors of memoirs often reflect on the meaning and significance of their experiences, providing a more subjective and personal perspective.
• Autobiographies aim to cover the entire span of the author’s life, offering a comprehensive overview.
• Readers can expect a detailed account of the author’s major life events, achievements, and relationships.
• The broad scope allows for a comprehensive understanding of the author’s life journey.
• Memoirs have a narrower scope, focusing on specific aspects of the author’s life.
• This narrower focus allows for a more in-depth exploration of particular themes, experiences, or relationships.
• The author may choose to understand deeply about a particular period or significant life event, providing a more detailed memoir writing insights and intimate portrayal.
• Autobiographies often adopt a formal and objective tone.
• The narrative style tends to prioritize straightforwardly presenting factual information.
• Emotions and personal reflections may be present but are typically secondary to providing a comprehensive account.
• Memoirs are characterized by a more subjective and reflective narrative style.
• Authors may delve into their emotions, thoughts, and personal insights, offering readers a more intimate connection to shared experiences.
• The writing style of Book Writing Founders in memoirs is often more literary and creative, allowing for a deeper exploration of the author’s perspective.
• The purpose of understanding memoir vs. autobiography is to comprehensively document and share the author’s life story.
• Autobiographies may serve historical or cultural purposes, providing insights into a particular period or social context.
• They aim to leave a lasting record of the author’s life for future generations.
• Memoirs have a more focused purpose, aiming to explore and convey a particular theme or set of experiences.
• The goal is often to provide readers with a more personal and emotional connection to the author’s journey.
• Memoirs can inspire, educate, or resonate with readers who may relate to the shared experiences on a more intimate level.
• Autobiographies often appeal to readers interested in the complete life story of a well-known individual.
• Readers may be drawn to autobiographies for historical insights, to better understand influential figures, or simply to satisfy curiosity about the author’s life.
• Memoirs appeal to a broader range of authors and readers.
• Anyone with a compelling and personal story can write a memoir, regardless of their public profile. You can also search some professional memoir writing services to entertain your audience.
• Readers of memoirs often seek a more emotional and personal connection to the author’s experiences, and they may be drawn to specific themes or relatable life events.

Memoirs vs. autobiographies share the purpose of narrating personal life stories; they differ in scope, perspective, writing style, and intended audience. Understanding these differences can help you determine which genre aligns better with the story you want to tell and the impact you want to make on readers.

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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.

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7 Autobiographies and Memoirs That Remind Us of the Messiness of Memory

Whitney otto recommends langston hughes, gertrude stein, and more.

Thirty Two Short Films About Glenn Gould was a movie that had me thinking about narrative and memoir, biography and documentary and biopics—because it was all those things, along with being, literally, 32 short films about the pianist Glenn Gould. Various actors portrayed Gould, except when documentary footage was used. It was full of fact and conjecture, performance and pills, dialog and wordless scenes. Each segment showed another aspect of Gould, as if the truth of someone can only be gathered up and presented in pieces. I think it may have been then that I fell in unapologetic love for the less traditional autobiography or memoir. It was also then that I came to understand, as a writer, my impulse toward fragmented narrative, which had been the structure of my stories from the start.

In the late 1990s I began what I referred to as That Memoir Thing, which was a multiple book project that that was digressive and fractured and remains to this day unfinished. This project eventually turned into Art For the Ladylike: An Autobiography of Other Lives . I referred to it as That Autobiographical Thing in that if you know who and what I love you will know me. That you will understand my story. This book is a digressive mix of biography, feminism, art history, movies, and me (well, all of it is me, but there are memoir parts that are more overtly me).

Along with the book being my autobiography, it is also a companion piece to my novel Eight Girls Taking Pictures in that each book, one fiction, one nonfiction, draws on the same source material (though each book definitely stands alone). A kind of literary diptych, if you will. I wanted to see how the same story would change if approached from different angles.

Which brings me to the autobiographies and memoirs on this list and the way they remind us that while the years might progress in an ordinary, expected direction, memory does not. Dickinson wrote, Tell the truth but tell it slant. In these books, love, experience, ideas, and observations ignore the limitations of the linear story, building a more far more complex, complete narrative. The beauty of these books lies in how they move a little to the left, a detour off the beaten literary path.

Langston Hughes , The Big Sea (Thunder’s Mouth Press)

Here are the opening lines: “Melodramatic maybe, it seems to me now. But then it was like throwing a million bricks out of my heart when I threw the books into the water.” Any writer—in this case, one of America’s finest writers—who begins his autobiography by saying that dumping all his books into a river was a relief is a writer I must read. I adore this collection of titled anecdotes, memories, tales, and observations that move in and out of chronology. This beautiful collage, beautifully written, is cut-and-pasted, then reassembled, to describe a life that moves across continents (America, Mexico, France, Africa), and professions (merchant seaman, dishwasher, poet), depicting a life of the mind, coming of age, racism, loves.

Gertrude Stein, The Autobiography of Alice B. Toklas (Penguin Press)

How brilliant, how sly, to masquerade as someone else telling the story of your life, using the ruse that she is talking about her life, while frequently commenting on your brilliance. She even writes that she, Toklas-who-is-really-Stein, has an uncanny ability to recognize genius before anyone else. This book is Stein’s most accessible, most conventional writing (it was a bestseller) except for, you know, a structure in which she pretends to be someone else while writing her own memoir. Already well known for her other, nearly impenetrable work—the literary cubism, the send ups, the word portraits—Stein figured out how to talk endlessly and glowingly about herself without becoming that tiresome egotistical guest who simply refuses to leave the party.

Barbara Grizzuti Harrison, An Accidental Autobiography (Houghton Mifflin Harcourt)

Grizzuti Harrison described her book as “An autobiography in which I am not the main character.” Not only am I enamored of this autobiography that is a sort of “anti-autobiography” (in the same way that Alice B. Toklas’s “autobiography” is more performance piece than straight story), but I love its structure. Forget beginning with the beginning—in fact, forget beginnings, middles, and ends—Grizzuti Harrison tells her eccentric story in chapters that reflect collections of people and things, with titles like “Breathing Lessons,” “Food, Flesh, and Fashion,” “Men and God (s),” “Rooms: Signs and Symbols,” “Loot and Lists and Lust (and Things).” Each chapter reads like an energetic, highly charged monolog on myriad topics her intellect always in motion, digressing, referring back to things she already wrote in order to make yet another point. It’s almost stream-of consciousness, but not quite—more like listening to someone who has traveled, loved, and has an awful lot of opinions about everything as they shuffle and reshuffle all those people and places and things, inviting the reader to construct a chronology of their life.

Marion Winik, The Big Book of the Dead (Counterpoint)

When I was in high school and hanging around its little theater with the other theater kids, our teacher gave us Edgar Lee Masters’ Spoon River Anthology , a book I immediately loved for its thumbnail life dramas. The Big Book of the Dead is a compilation of Winik’s two previous “books of the dead” plus a few added obituaries, totaling 125 thumbnail tributes. I only mention this because the other books lacked narrative order, seeming like a pack of cards flung in the air, while this book is more loosely chronological, organized by geography.

I have loved Winik’s voice since reading her autobiographical essays collection, Telling. Here, we meet her friends, lovers, husband, parents, colleagues, neighbors, students, even a celebrity or two as she writes whimsically, movingly about their lives. Unlike Spoon River Anthology , this is a book of memory and the importance of memory, including the way those 125 memories all add up to the story of Winik herself.

Sophie Calle, Take Care of Yourself (Actes Sud)

Technically, this book is an artwork of French conceptual artist Sophie Calle. Her many art pieces have included Chambermaid , for which she worked as a hotel maid in Venice, recording the objects and writings of the guests. With Sleepers she invited strangers to sleep in her bed, then photographed the results. Address Book , her most controversial art piece, involved finding a stranger’s address book, calling the numbers and interviewing those who answered about the owner of the book, then publishing the interviews. In Take Care of Yourself , Calle asks 107 women—friends and acquaintances representing a number of professions that often inform their interpretation of the letter—to analyze a breakup email sent to Calle by her boyfriend, an email that ends with “Take care of yourself.” Out of this extended conversation about one specific thing, Calle constructs a memoir of a lost love affair.

Translated and Edited by Ivan Morris, The Pillow Book Of Sei Shonagon (Columbia University Press)

The Pillow Book of Sei Shonagon is the work of a court lady in Heian Japan (794 to 1185). I love its mix of the mundane and the poetic; she can also be petty, judgmental and self-critical. There are detailed descriptions of clothes and conversations and love affairs, all told in 186 brief entries with titles like “Outstandingly Splendid Things” or “It Is Very Annoying.” “Things That Should Be Large” followed by “Things That Should Be Short.” “Men Have Really Strange Emotions.” “Noon on a Summer Day.” Or, my favorite, “Things That Make the Heart Beat Faster.” The overall idea does not seem to be to construct a faithful chronology, but something more mercurial, more idiosyncratic. This assemblage of her observations, lists, musings and commentary isn’t as much about the Heian court as it is of Sei Shonagon herself as she lays out her life, in all its complexity, her sensibilities surprisingly contemporary.

Carmen Maria Machado , In the Dream House (Graywolf Press)

Can a concept be a literary structure? Can a haunted house illustrate an abusive relationship? Can queer theory and various academic ideas be a place where someone can live? Can anyone actually live in a dream house? Doesn’t the fact of it being a dream make it ultimately uninhabitable, no matter how great the longing? And is there a fine line between dream and nightmare and how is it crossed it without even realizing it? You and I are points of view used by the narrator as much as pleasure and betrayal find themselves bound together in the dream house. Every chapter begins with “Dream House.” “Dream House as Epiphany.” “Dream House as Erotica.” “Dream House as Shipwreck.” “Dream House as I Love Lucy.” “Dream House as Choose Your Own Adventure” records a moment between the narrator and her girlfriend, then offers the reader a series of page numbers that add to and drive the entire incident. I love this brilliant memoir. I love it. I love that it is as much about this one terrible love affair gone wrong as it is about the narrator. I love the repetition and prismatic quality of the dream house, invoked over and over, each meaning fresh and dazzling.

__________________________________

Art for the Ladylike: An Autobiography through Other Lives by Whitney Otto is available now via Ohio State University Press.

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Biography, Autobiography, Memoir? What’s the difference?

by  Lan-Chi Pham

July 26, 2022

Books, Teen Writers

Caption: Royd Hatta's grandfather sitting on his new  car (1930s Ford Model A?) with his son Shigeru. Royd's grandmother stands with her daughter, May, who passed away a year or so after this picture was taken. 

The terms autobiography, biography, and memoir are occasionally used interchangeably by the public, but they are three distinct, if similar, genres of nonfiction.

Though there are nuances to each genre we can begin to understand each with the analogy of distance:

A biography attempts to illustrate a person's life story from an outsider's point of view. Imagine viewing the subject from 1000 feet away.

An autobiography is when the actual person who lived that life tells their own life story with the advantage of providing insights that only she or he can provide. Imagine YOU telling your story as it is, with your own thoughts and commentary.

A memoir , similar to an autobiography, may dive deeper still into our memories by employing literary devices such as a particular theme, symbolism, and lyricism.

The Biography

A biography is a retelling and description of a person’s life, be they a famous actor, a nobel-prize winning scientist, or an obscure writer from the 19th century.

Typically, biographies are written about well-known public figures or historical characters, with or without their consent, and are meant to cover the subject’s history as objectively as possible. 

Because of this, biographies tend to be written in the third person and take a more formal stance when describing the subject's life,  their trials, and eventual successes. 

An excellent example is Walter Isaacson’s Steve Jobs biography. Authorized and hand-picked by Jobs himself, Isaacson tells the story of a man lauded for building a world-class company from the ground up with a die-hard fan base. 

Through countless interviews and historical contexts, the book provides an unflinching look at the turmoil Jobs’ self-absorbed ambition created in his personal and professional relationships.

It’s at once the story of a man whose skill was gathering exceptional talent and continually reinventing his company to reach ground-breaking goals–often to a fault.

This led to both his being ousted from his own company, and his eventual return to make Apple an internationally respected brand.

The book is a tell-all and tribute to an iconic figure while showcasing the 80s and 90s Silicon Valley corporate wars. At the time of its release, even many of our 5th graders could not put it down.

Biographies are typically broad in scope, covering the subject from birth all the way up to their death, and everywhere in between. The details required by a biography involves a significant amount of research and fact-checking, but isn’t personal in quality. Biographies cover much more in the way of facts, locales, history, and less exact phrasing of the subject’s inner turmoil.

Think of a biography as looking at someone from a distance, with binoculars. You log their life as they live it.  You take in the large steps, but not necessarily the individual meals they have every single day. You might ask their companions about them, perhaps take in some meaning from their story to tell others, but you’ll never be so close to truly probe their inner feelings. Facts are what’s important in a biography.

Here are some biography examples many of our staff or students have enjoyed.

Look for these titles at your local library, bookstore (i.e., Linden Tree Books ), or follow the links in the images below to Bookshop.org . Through these links we receive a tiny payment that helps support our free Meetup story writing workshops. Thank you in advance!

The Autobiography

Autobiographies are biographies written by the subject themself. Typically written in first person, they are not exact counterparts to biographies as they are more personal. After all, the author is writing about themself.

The writer’s biases will show through the writing as they recount their experiences, but like biographies, an autobiography will start at the beginning of the subject’s life and end in the present, covering the events as factually as possible.

Because of this need for factuality, those who wish to write autobiographies will refer to their diaries as source for how they felt at the time of an event, and they may even seek the counsel of those who know them well to provide some perspective and accuracy.

Think of an autobiography as piecing together a scrapbook of your entire life.

Every event is documented: birth, childhood, adolescence, and adulthood, all the way up to the present.

A picture of you is more intimate than looking at someone from a distance, and you can tell a more compelling and thoughtful narrative through these photos.

You might add some of your thoughts on the events, perhaps a few funny little details, and when you show that scrapbook to your loved ones you will certainly comment on the meaning of the events that occurred throughout your life, but of most importance will be the pictures—the facts—themselves.

The Boy Who Harnessed the Wind

by William Kamkwamba & Byran Mealer

As all genres it is a matter of degrees, this book is a hybrid of Autobiography as it told through the boy of the title, William Kamkwamba, and assisted by a veteran reporter, Bryan Mealer, the co-author.

Through a first-person point of view, Kamkwamba tells about the struggles of growing up in one of the worst African droughts and resulting famines. Friends and family lost their lives to starvation. William's desire to attend school was thwarted as his father could not work the fields or find work. Without tuition, Kamkwamba picked a book that was lying around—an electronics manual.

From studying the diagrams to painstakingly reading it, he began to understand the basics, and created a makeshift windmill to generate electricity. It powered cellphones for the village, produced light, and had the promise of pumping water from underground. Soon, it became a working model to inspire others.

See his TED Talk for the synopsis, but read the book to experience life in an African village where the doubters became his advocates. Against the odds of hopelessness, poverty, war, and famine, this book is an inspiration.  

Above: The Picture Book

Below: The Young Readers Edition

Here some other examples of autobiographies our staff or our students have enjoyed:

Memoirs are the most personal of the three and the most narrow in focus. Similar to autobiographies, they are written in the first person and take a personal look into the writer’s life. They are, in fact, the closest relative to autobiographies. However, there are a few key differences. 

While autobiographies, like biographies, focus on the facts of the subject’s life, through a broad perspective,  memoirs, as the French word suggests, are centered around memories. Specifically, these memories are culled from a specific set of events or topic.

A memoir might take a look at the writer’s childhood and the effects of their upbringing on their current troubles. It can serve as a deep, emotional reflection on the intense portions of their life.

Memoirs tend to center around themes which the writer uses to tie together the various events they cover. In a sense, memoirs are most similar to narrative fiction, with arcs, flashbacks , and even antagonistic characters the readers root against. There are clear plots and progression within the narrative with the entire work culminating in the same way a fiction novel would possess a climax.

Think of a memoir as your secret diary. You write down your deepest feelings and troubles into your diary, hold it close to you, consult nobody but yourself. The objective facts aren’t the focus; your interpretations and your feelings are. 

The difference is, of course, this diary will be going out for the whole world to see, so if you’re thinking of writing a memoir and want to avoid a lawsuit from the “characters” of your life, you probably should keep things as accurate as possible.

Farewell To Manzanar

by Jeanne Wakatsuki Houston and James D. Houston 

This classic of California history artfully embeds symbolism to note the struggles loyal Japanese-Americans (J.A.s) endured during their time before, during, and after the Japanese-American Internment of WWII.

It shines through its scenes of how the marginalized J.A.s both harness their culture's wisdom to stay strong and survive, and how it can contribute to bitter separation in navigating the shame within the camps, and the racism outside of it in America. When one has chosen to suppress their heritage to reach the American dream, and it still fails, what else can one choose? 

Manzanar the place and the book is both a reminder of the internal incarceration, shame, doubt, and betrayal that we all would like to say farewell to. 

Here are a few other ground-breaking memoirs to check out. 

What is the difference between all three genres? In short, 

A biography is the grand telling of another person's life.

An autobiography is an epic telling of your own life. 

A memoir , resembles an autobiography with more attention on a particular theme, symbolism, lyricism, or overriding concept.

In the end, any of these genres may borrow elements of the other so that the author may tell their story in the most compelling way. That's the beauty of writing. It allows us to pull from various facets of a person's world, or our own.  From it, we can begin to fathom all those special moments in our lives, and perhaps share the epiphanies and discoveries we've gain with the world. 

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Autobiography Writing Guide

Autobiography Vs Memoir

Last updated on: Feb 9, 2023

Autobiography vs. Memoir: Definitions & Writing Tips

By: Barbara P.

Reviewed By: Chris H.

Published on: Mar 2, 2021

Autobiography and memoirs are written to tell the life story of the writer. An  autobiography  covers the author’s whole life, while a memoir focuses on specific events. These two terms are used interchangeably, but there are obvious and practical differences between the two similar genres.

Writing a memoir and autobiography is a creatively challenging experience, even for the most experienced of writers.

Therefore, read on this blog and get to know the difference and similarities between autobiography vs. memoir.

On this Page

Definition of Memoir vs. Autobiography

The memoir and autobiography are the terms that overlap each other, so the confusion is understandable. These two are the formats that are used to tell a creative non-fiction story. However, there are some differences that you need to know before using the most appropriate one.

Let us discuss the definition of both in detail.

A memoir is based on the author’s real-life experience, and it is written from the author’s point of view. Also, they are not covering their whole life from birth to the present. However, they explore a specific era in great detail, which makes them much different from other writing genres.

Memoirs are more personal and focused on the writer's life. It should be written from the first-person point of view.

The main purpose of the memoir is to:

• Share your personal life experience with the readers.
• Tell the story from the author’s perspective.
• Connect with others who have similar or the same situations.
• Help the people to understand that they are not alone in their experiences.
• Make sense of the threads and themes of their life, as well as identify what's important.

Moreover, the memoir is a type of autobiography that gives a glimpse of the specific event of the writer’s life. Also, the memoir should be:

• Descriptive
• Well-written

The memoir also focuses on the relationship between the author and a particular place or person. Also, they tend to be read more like a fiction novel than a factual account. It includes the following things:

However, for a great memoir, you should share snippets from their life. Also, do not try to tell the entire story in one sitting.

Here is an example that gives you a better idea of the memoir.

Memoir Example

Autobiography

An autobiography focuses on the writer’s entire life and discusses the significant events of their life. It comes through the writer’s own life and in his own words. People write autobiographies to record their feelings and ideas to share with others. Then get it published to reach a greater number of people.

The main purpose of the autobiography is to:

• Inform or teach someone about something.
• Present the facts based on a memoir.
• Focus on the most important events and people in the writer’s life.
• Give you a better insight into how their experiences have shaped them as a person.

Moreover, an autobiography is written in a fictional tale that closely mirrors events from the author’s real life. However, your autobiography should be:

• Easy to read
• Free from obscure details

The below example will help you in writing a good autobiography.

Autobiography Example

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Autobiography vs. Memoir: Differences and Similarities

The autobiography and memoir have some differences and similarities. You must know them before you start writing it.

The below table shows the differences between autobiography and memoir.

Here are some similarities between autobiography and memoir.

• Both use the first-person point of view.
• Both demonstrate the life of the author.
• Focus on the limited aspect of the author’s life.
• Nonfiction literary genre.
• Presents facts as the person experiencing them.

Biography vs. Autobiography vs. Memoir

Some students get confused between biography, autobiography, and memoir. They are not the same and are written for different purposes.

Check the below table and better understand the similarities and differences between biography, autobiography, and memoir.

Memoir vs. Autobiography vs. Personal Narrative

The below table shows the differences and similarities between memoir, autobiography, and personal narrative.

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Tips for Writing the Autobiography and Memoir

The following are the tips that you should follow and create a well-written autobiography and memoir.

• Use fiction-writing techniques.
• Write in an engaging way.
• Mention the specific dates of the events.
• Focused on facts.
• Dialogues in memoir should be natural instead of journalistic.
• Do in-depth research.
• Start with a strong hook.
• Use the correct memoir and  autobiography format .
• Pick a strong theme.
• Focus on the main events of the person’s life.

Now, you get a complete understanding of the autobiography and memoir. However, if there is still any confusion in writing, then simply consult 5StarEssays.com.

Our  essay writer  will help you make your writing process easy. All your write my essay requests are managed by professional writers.

So, contact us now and get professional academic help at an affordable rate.

Frequently Asked Questions

What are the 3 characteristics of a memoir.

The 3 characteristics are:

• It focuses on a specific life event
• The subject becomes alive in the writing
• They are more limited than biographies

Is a memoir more factual than an autobiography?

No! On the contrary, an autobiography is more factual than a memoir. An autobiography encompasses many facts and real incidents from one’s life.

Can we use memoir and autobiography interchangeably?

In some instances, when autobiographies become exceedingly short, they are often called memoirs. However, they are still different in their essence and purpose.

Literature, Marketing

Dr. Barbara is a highly experienced writer and author who holds a Ph.D. degree in public health from an Ivy League school. She has worked in the medical field for many years, conducting extensive research on various health topics. Her writing has been featured in several top-tier publications.

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Keep reading.

• How to Write an Autobiography - A Complete Guide

• Autobiography Examples – Detailed Outline and Samples

• Know the Different Types of Autobiography Here

• Autobiography Format for Students - A Detailed Guide

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Biography vs. Autobiography vs. Memoir: Art of Life Stories

Have you ever found yourself lost in the pages of someone’s life story, marveling at their journey, and wondered, “How did they capture this essence so vividly?” Whether it’s the inspiring tale of a visionary like Steve Jobs, the intimate diary of Anne Frank, or the raw honesty of Michelle Obama’s “Becoming,” the allure of personal narratives is undeniable. But here’s a question: do you know the difference between a biography, an autobiography, and a memoir? These genres, while similar, have distinct flavors and purposes. In this journey through words, let’s unravel these threads and discover the unique tapestry each one weaves.

Biography vs. Autobiography vs. Memoir

In the realm of personal narratives, biographies, autobiographies, and memoirs are often mentioned in the same breath. Yet, each genre has its unique flavor and purpose. Understanding the differences between them is like distinguishing between different genres of music – each tells a story in its own unique way.

The Distinctive Flavors

Biographies are akin to a well-researched documentary. They are written by someone other than the subject and provide an external perspective on a person’s life. Biographers are like artists who paint a portrait of a person using the palette of history, interviews, and other sources.

Autobiographies, on the other hand, are self-written accounts. They are the self-portraits of literature, offering an internal perspective. Autobiographies often cover the author’s entire life, providing a detailed chronology of events and experiences from the person who lived them.

Memoirs are more like snapshots or a series of vignettes from the author’s life. They focus on specific experiences, periods, or events, often with a particular theme or emotional undercurrent. Memoirs are less about the chronological details and more about the emotional journey and personal insights.

The Art of Storytelling

While all three genres share the common thread of personal narrative, the way they tell their stories differs significantly. Biographies often have a more formal and comprehensive approach, while autobiographies and memoirs tend to be more personal and introspective. Autobiographies give you a panoramic view of a person’s life, while memoirs zoom in on particular aspects, offering a more detailed and intimate perspective.

The Purpose and Appeal

Each of these genres serves a different purpose and appeals to readers in different ways. Biographies satisfy our curiosity about the lives of others, especially prominent figures, and help us understand the broader historical and cultural context. Autobiographies allow us to connect directly with the author’s experiences and perspectives. Memoirs, with their focused and thematic approach, often resonate on a deeper emotional level, offering insights into specific life experiences and universal truths.

Now, let’s put these differences into perspective with a comparison table:

Literary Genre Quiz (Easy)

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What is a Biography?

In the tapestry of literature, a biography stands out as a vibrant thread, weaving together the intricate details of a person’s life. But what exactly makes a biography? It’s not just a chronological account of events; it’s a journey into the heart and soul of another human being, crafted with the careful hands of an author who is not the subject themselves.

The Essence of Biography

A biography is a detailed description or account of someone’s life, yet it involves more than just the basic facts like education, work, relationships, and death. It portrays a comprehensive picture of a person’s experiences and the times in which they lived. Think of it as a portrait painting; while the basic outlines are drawn from the subject’s life, the colors and textures are provided by the author’s insights into their character, motivations, and the impact they had on the world around them.

The Author’s Perspective

One of the most intriguing aspects of a biography is the author’s perspective. Unlike autobiographies, biographies are written by someone other than the subject. This external viewpoint allows for a more objective portrayal of the subject’s life. The biographer’s task is akin to that of a detective – piecing together the story of a life from letters, journals, interviews, and other sources. They must tread the fine line between fact and interpretation, ensuring that their narrative is both accurate and engaging.

The Journey Through Time

Biographies take readers on a journey through time, offering a glimpse into different eras and the people who shaped them. They provide context to the subject’s actions and decisions, helping readers understand the historical and cultural circumstances that influenced their life. This journey is not just about the destination – the events of the subject’s life – but also about the path they took, the obstacles they faced, and the legacy they left behind.

The Universal Appeal

While biographies are about individual lives, their appeal is universal. They tell stories of human struggle and achievement, of overcoming odds, and of making a mark on the world. Biographies inspire, educate, and entertain, bridging the gap between the past and the present. They remind us that history is not just about events and dates, but about real people who lived and breathed, loved and lost, and in their own way, changed the world.

3 Biography Examples

Diving into the world of biographies, we encounter stories that are as diverse as they are profound. These narratives not only chronicle the lives of remarkable individuals but also offer us a window into their souls. Let’s explore three exemplary biographies that stand as testaments to the power of well-told life stories.

“Steve Jobs” by Walter Isaacson

“Steve Jobs” by Walter Isaacson is a masterful portrayal of the iconic co-founder of Apple Inc. Isaacson, renowned for his in-depth research and engaging storytelling, paints a vivid picture of Jobs’ complex personality and groundbreaking innovations. This biography delves into Jobs’ intense drive, creative genius, and the path he blazed in the tech world. It’s a compelling read that takes you behind the scenes of his famous product launches and into the depths of his personal and professional relationships. Isaacson’s narrative is a rich tapestry that weaves together the triumphs and tribulations of a man who changed how we interact with technology.

“Marie Curie: A Biography” by Marilyn Bailey Ogilvie

In “Marie Curie: A Biography,” Marilyn Bailey Ogilvie offers an intimate look into the life of the trailblazing scientist who broke barriers in a male-dominated field. This biography shines a light on Curie’s relentless pursuit of knowledge, her groundbreaking discoveries in radioactivity, and her monumental contributions to science, which earned her two Nobel Prizes. Ogilvie’s portrayal is not just about Curie’s scientific achievements but also about her personal struggles, resilience, and the legacy she left for future generations of scientists, especially women. It’s a story of determination and brilliance, inspiring readers to believe in the power of perseverance.

“Alexander Hamilton” by Ron Chernow

Ron Chernow’s “Alexander Hamilton” is a riveting account of one of America’s most influential founding fathers. This biography takes you on a journey through Hamilton’s tumultuous life, from his humble beginnings in the Caribbean to his pivotal role in shaping the United States’ financial system. Chernow’s meticulous research and eloquent writing bring to life Hamilton’s political genius, his role in the creation of the U.S. Constitution, and his infamous rivalry with Aaron Burr. This book is more than a biography; it’s a vibrant portrait of a man whose legacy continues to resonate in modern American politics.

What is an Autobiography?

Have you ever wished you could step directly into someone’s shoes, to see the world through their eyes and understand their innermost thoughts and feelings? This is the essence of an autobiography. Unlike biographies, written by observers, an autobiography is a self-penned narrative, offering a first-person account of the author’s life. It’s as if the subject has invited you into their living room for a candid, personal conversation about their life’s journey.

The Personal Lens of Autobiography

In an autobiography, the author takes you by the hand and guides you through the corridors of their past. You get to experience their childhood memories, their triumphs and failures, their joys and sorrows, all narrated with the intimate knowledge that only they can provide. This genre is not just about recounting events; it’s about sharing the emotional journey that accompanied those events. It’s a deep dive into the author’s psyche, revealing their motivations, challenges, and the lessons they’ve learned along the way.

The Authentic Voice

What sets autobiographies apart is their authentic voice. The narrative is often conversational, filled with personal anecdotes and reflections that give you a sense of who the author really is. It’s like listening to a friend recount their life story, complete with insights and introspections that only they could offer. This authenticity makes autobiographies uniquely compelling, as they provide a direct window into the author’s soul.

The Evolution of Self

Autobiographies often focus on the evolution of the author’s identity and perspective. They chronicle not just the external events of the author’s life but also their internal growth and development. Through the pages, you witness the transformation of the individual, understanding how each experience has shaped them into the person they are today.

The Universal in the Personal

While autobiographies are deeply personal, they often resonate with readers on a universal level. The struggles and triumphs, the dreams and disappointments, the moments of clarity and confusion – these are experiences that many of us share. By sharing their stories, authors of autobiographies connect with readers, offering insights and inspiration that transcend their individual experiences.

3 Autobiography Examples

In the realm of autobiographies, each book is a window into a life, offering unfiltered access to the author’s world. These narratives are not just accounts of events; they are personal testimonies of resilience, courage, and the human spirit. Let’s delve into three powerful autobiographies that have left an indelible mark on the hearts and minds of readers worldwide.

“Long Walk to Freedom” by Nelson Mandela

“Long Walk to Freedom” is not just an autobiography; it’s a testament to the unyielding spirit of one of the most iconic figures in the fight for equality, Nelson Mandela. In this deeply moving narrative, Mandela recounts his journey from a young village boy to a leader in the African National Congress, his enduring 27 years in prison, and his pivotal role in dismantling apartheid in South Africa. What makes this autobiography so compelling is Mandela’s ability to blend the political with the personal. His story is not just about the struggle for freedom but also about the power of hope, forgiveness, and the unbreakable will to achieve justice. Mandela’s voice resonates with dignity and wisdom, offering a profound lesson in leadership and humanity.

“The Diary of a Young Girl” by Anne Frank

Anne Frank’s “The Diary of a Young Girl” is a poignant and heart-wrenching autobiography that captures the essence of human resilience under the most harrowing circumstances. Written while hiding from the Nazis during World War II, this diary is a raw, unfiltered account of a young girl’s life and thoughts as she confronts the horrors of war and the threat of persecution. Anne’s diary is more than a historical document; it’s a journey into the soul of a bright, insightful, and incredibly brave girl facing unimaginable adversity. Her observations, dreams, and fears, penned with remarkable clarity and wisdom, continue to inspire and move readers around the world, serving as a powerful reminder of the horrors of war and the enduring strength of the human spirit.

“The Story of My Life” by Helen Keller

“The Story of My Life” by Helen Keller is an extraordinary autobiography that chronicles the life of a woman who, despite being deaf and blind from a young age, became one of the most inspirational figures of the 20th century. Keller’s narrative is a stunning testament to the power of determination and the human capacity to overcome seemingly insurmountable obstacles. Through her words, readers experience her journey of learning to communicate, her educational triumphs, and her work as an advocate for people with disabilities. Keller’s story is not just about the challenges of her physical condition but also about her intellectual and emotional growth. Her autobiography is a beacon of hope and a celebration of the indomitable human spirit, inspiring readers to believe in the potential within themselves, regardless of the challenges they face.

What is a Memoir?

Step into the world of memoirs, and you’re stepping into a garden of personal experiences, each flower representing a specific time, emotion, or event in someone’s life. Unlike autobiographies, which often span the entirety of a person’s life, memoirs focus on a particular aspect, theme, or period. They’re like a spotlight, illuminating a specific part of the garden, revealing its colors and textures in vivid detail.

The Intimacy of Memoirs

Memoirs are deeply personal narratives that offer a window into the author’s soul. They’re not just about what happened, but how what happened affected the author. It’s this introspective and reflective nature that sets memoirs apart. They delve into the emotional journey, exploring the author’s feelings, reactions, and insights. A memoir is like a conversation with an old friend, where stories and reflections are shared with honesty and vulnerability.

Crafting a Narrative

What makes memoirs so captivating is their narrative style. They often read like a novel, with a strong emphasis on storytelling. Authors of memoirs use literary techniques to weave their experiences into a narrative that’s not just informative but also emotionally engaging. They transport readers into their world, allowing them to see, feel, and experience life from the author’s perspective.

Memoirs may be personal, but their themes often resonate on a universal level. They touch on experiences and emotions that many of us can relate to, such as love, loss, triumph, and failure. This relatability is what draws readers into the memoir; it’s like finding parts of your own story in someone else’s narrative. Memoirs remind us that, despite our diverse life paths, our emotional experiences are often shared.

A Journey of Self-Discovery

Writing a memoir is often a journey of self-discovery for the author. It’s a process of reflecting on their life, making sense of their experiences, and understanding how those experiences have shaped them. For the reader, it’s an opportunity to learn from someone else’s life lessons, to gain insights that can be applied to their own journey.

3 Memoir Examples

Memoirs, with their intimate and focused narratives, offer a unique lens into the authors’ lives, highlighting specific experiences and the profound lessons they impart. Each memoir is a personal journey, a deep dive into moments that have shaped the author’s life. Let’s explore three captivating memoirs that have not only enthralled readers but also provided insights into different facets of the human experience.

“Becoming” by Michelle Obama

In “Becoming,” Michelle Obama invites us into her world, sharing the experiences that have shaped her from her childhood on the South Side of Chicago to her years as an executive balancing the demands of motherhood and work, to her time spent at the world’s most famous address. This memoir is a work of deep reflection and mesmerizing storytelling. Michelle Obama describes her triumphs and disappointments, both public and private, telling her full story as she has lived it – in her own words and on her own terms. Warm, wise, and revelatory, “Becoming” is an intimately powerful read about a woman who has steadily defied expectations and whose story inspires us to do the same.

“Educated” by Tara Westover

Tara Westover’s “Educated” is a heart-wrenching memoir of self-invention and a testament to the resilience of the human spirit. Born to survivalists in the mountains of Idaho, Westover was seventeen the first time she set foot in a classroom. Her quest for knowledge transformed her, taking her over oceans and across continents, to Harvard and to Cambridge. Despite her isolated upbringing, her pursuit of education opened new worlds and gave her a new voice. “Educated” is an account of the struggle for self-invention, a tale of fierce family loyalty, and the grief that comes from severing one’s closest ties. It’s a poignant reminder of the power of education to change one’s life.

“The Glass Castle” by Jeannette Walls

“The Glass Castle” by Jeannette Walls is a remarkable memoir of resilience and redemption, and a revelatory look into a family at once deeply dysfunctional and uniquely vibrant. Walls grew up with parents whose ideals and stubborn nonconformity were both their curse and their salvation. Her story focuses on her unconventional upbringing and how she and her siblings had to fend for themselves while their parents followed their whims. This memoir is a testament to the unbreakable bond of family and a celebration of the indomitable spirit to overcome insurmountable odds. Walls’ storytelling is straightforward and unadorned, yet the narrative she weaves is deeply moving and profoundly inspiring.

Literary Genre Quiz (Hard)

Frequently Asked Questions

In the fascinating world of personal narratives, questions often arise about biographies, autobiographies, and memoirs. Let’s dive into some of the most frequently asked questions to shed light on these intriguing genres.

Is a Biography a Life Story?

Absolutely! A biography is indeed a life story, but it’s told by someone other than the subject. It’s an account that covers the significant events and experiences of a person’s life, often providing a comprehensive view of their journey.

Can Anyone Write a Biography?

Yes, anyone can write a biography, but it requires thorough research and a deep understanding of the subject. Biographers often spend years gathering information through interviews, archives, and other sources to paint an accurate and compelling picture of the person’s life.

Can a Biography Be Fictionalized?

While biographies are primarily factual, some authors use creative nonfiction techniques to enhance the narrative. However, the core of a biography should always be rooted in factual, well-researched information. Fictionalizing real events or characteristics of the person would stray into the realm of historical fiction.

How Do Authors Research for Writing a Biography?

Researching for a biography involves diving into various sources like letters, diaries, interviews, historical records, and other relevant documents. Biographers often interview people who knew the subject personally and gather as much firsthand information as possible to ensure accuracy and depth in their portrayal.

How Do You Start an Autobiography?

Starting an autobiography usually involves introspection. Authors often begin by outlining the key events in their life, reflecting on their experiences, and deciding on the overall theme or message they want to convey. It’s about finding the unique angle of your life story that will resonate with readers.

Are Autobiographies Always Written in the First Person?

Yes, autobiographies are typically written in the first person since they are personal accounts of the author’s life. Writing in the first person helps convey a sense of intimacy and immediacy, allowing readers to see the world through the author’s eyes.

How Do Authors Ensure Accuracy in Their Autobiographies?

Authors ensure accuracy in their autobiographies by relying on their memories, personal records, diaries, and sometimes by corroborating events with others. They strive to recall events and experiences as truthfully as possible, although it’s understood that personal perspectives may color these recollections.

Is Memoir a Fiction?

No, a memoir is not fiction. It’s a true account of specific experiences in the author’s life. While memoirs are subjective and focus on personal perceptions and emotions, they are grounded in the author’s real experiences.

Who is a Memoir Written by?

A memoir is written by the person who experienced the events or periods being described. It’s a personal narrative that delves into the author’s memories, emotions, and insights about particular aspects of their life.

What Are Some Common Themes in Memoirs?

Common themes in memoirs include personal growth, overcoming adversity, relationships, identity, and resilience. Memoirs often explore these themes through the lens of the author’s unique experiences and insights.

How Do Authors Decide What to Include in Their Memoirs?

Authors decide what to include in their memoirs based on the overall theme or focus of their narrative. They select events and experiences that are significant to the story they want to tell, often those that have had a profound impact on their personal journey or that illustrate a particular aspect of their life.

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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 .

Autobiographies , Biographies , memoirs

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Reading Autobiography Now

An updated guide for interpreting life narratives, third edition.

Sidonie Smith and Julia Watson

Updated and expanded, Reading Autobiography Now is an accessible and contemporary guide to autobiographical narratives. Exploring definitions of life narrative, probing issues of subjectivity, and outlining salient features of autobiographical arts and practices, Sidonie Smith and Julia Watson offer both a critical engagement with life narrative in historical perspective and a theoretical framework for interpreting texts and practices in this wide-ranging field.

Literature , Reference , American Literature , Creative Nonfiction

The boom in autobiographical narratives continues apace. It now encompasses a global spectrum of texts and practices in such media as graphic memoir, auto-photography, performance and plastic arts, film and video, and online platforms. Reading Autobiography Now offers both a critical engagement with life narrative in historical perspective and a theoretical framework for interpreting texts and practices in this wide-ranging field. Hailed upon its initial publication as “the Whole Earth Catalog of autobiography studies,” this essential book has been updated, reorganized, and expanded in scope to serve as an accessible and contemporary guide for scholars, students, and practitioners.

$27.00 paper ISBN 978-1-5179-1688-6 $108.00 cloth ISBN 978-1-5179-1687-9 400 pages, 5 1/2 x 8 1/2, July 2024

Sidonie Smith is Lorna G. Goodison Distinguished University Professor Emerita of English and women’s and gender studies at the University of Michigan. Among her almost two dozen books are Manifesto for the Humanities and, with Julia Watson, Life Writing in the Long Run .

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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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A new taylor swift biography for kids hits the bestsellers chart (and it’s on sale for $5).

The paperback tracks the singer's rise to fame, from her small-town beginnings in Pennsylvania to her travels around the globe.

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Taylor Swift fans have a few more weeks to wait until her new album is released , but Swifties can spring for a new Taylor-inspired book in the meantime, that’s topping the charts online.

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Cailee spaeny remembers staring at the back of taylor swift's head at golden globes: "i couldn't believe this was my life", ryan o'connell to release essay collection (exclusive).

Though it’s written for children ages 8-12, the new book is suitable for fans of all ages, and makes a great gift idea too.

Listed at a suggested manufacturer’s price of $6.99, Amazon has the new Taylor Swift biography on sale for just $5 as of this writing. The 112-page book is available on paperback, hardcover, for Kindle and as an audiobook on Audible (which you can listen to free with a free trial to Audible here ).

While this isn’t an official release from Swift’s camp, the book does hail from publishers Penguin Workshop, whose best-selling Who Was? series tells the stories of “important scientists, artists, writers, athletes, changemakers, and musicians,” in “inviting and digestible packages” for middle-grade readers.

As the publisher notes detail, “Since the release of her self-titled debut album in 2006, Taylor Swift has dominated the music charts, reinvented her sound, won numerous awards, shaken off public criticism, and spoken up for herself and others. Whether you’re a lifelong Swiftie or someone who just loves learning about musicians, this enchanting book will teach you all about the experiences that helped Taylor Swift become the successful superstar many kids and adults looks up to.”

Who Is Taylor Swift? is written by Kirsten Anderson, whose other titles include  Who Is Zendaya?  and  Who Is Kamala Harris? The young adult book also features illustrations from Gregory Copeland, an award-winning artists whose work has been recognized by the Society of Illustrators New York, Communication Arts Illustration Annual, and 200 Best Illustrators Worldwide, among others.

The book comes on the heels of an unofficial Taylor Swift fan journal that was released last year, in the middle of the singer’s record-breaking Eras Tour.

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Amazon’s Bestselling Taylor Swift Biography Is On Sale for $5 & Makes the Perfect Gift for Swifties

Starting with her Pennsylvania roots to her rise to fame, learn about the singer-songwriter's journey to global success.

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“Who Is Taylor Swift?” by Kristen Anderson

Throughout 112 pages, Who Is Taylor Swift? details the Billboard Hot 100 chart topper’s life from growing up on a tree farm in Pennsylvania to her music reinvention and multiple award wins. You’ll also be able to look at illustrations of the singer by artist Gregory Copeland.

Fans new and seasoned can enjoy flipping through its pages; even verified Amazon reviewers can’t get enough of the book with one Swiftie commenting that they “still learned a few things [they] didn’t know.”

And, if you’re looking to further expand your merch collection, you can pick up a copy of Taylor Swift Mad Libs and a popular fashion book that details some of her most notable style moments. If you want to infuse some of her style into your closet, then you can also snag the exact Aupen purse she’s sported and more of her best outfits if you need some costume ideas to wear if you plan on getting tickets to the Eras tour .

For more product recommendations , check out our roundups of the best female musician memoirs , music books and Taylor Swift recommended books .

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The Memoirs of Jacques Casanova: In London and Moscow (5) Paperback – Illustrated, December 12, 2008

• Print length 560 pages
• Language English
• Publisher Dodo Pr
• Publication date December 12, 2008
• Dimensions 5.98 x 1.25 x 9.02 inches
• ISBN-10 1406571873
• ISBN-13 978-1406571875
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• Publisher ‏ : ‎ Dodo Pr; Illustrated edition (December 12, 2008)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 560 pages
• ISBN-10 ‏ : ‎ 1406571873
• ISBN-13 ‏ : ‎ 978-1406571875
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