life history writing biography example

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How to Write a Biography (Examples & Templates)

A biography is a written account of a person’s life that details their life in chronological order. Another person usually writes this detailed account, and it contains reports of their childhood, career, major life events, relationships, and social impact. It also details their relationships with their family, children, and life accomplishments.

The best way to find out more about a popular figure is through reading their biographies, so you need to make sure you get the correct information. Before writing a biography, you need to do a lot of research and interviews to represent a person’s life accurately.

Types of Biography

A biography is the story of someone’s life as written by another writer. Most biographies of popular figures are written years, or even decades, after their deaths. Authors write biographies of popular figures due to either a lack of information on the subject or personal interest.

A biography aims to share a person’s story or highlight a part of their life.

There are different types of biographies, depending on the story. Some biographies are written true to the story, while some are written as fictional works. Biographies can give you true understanding of a person on an internal as well as external level along with a lot of life lessons.

Autobiography

An autobiography is different from a biography because it is written by the subject of the story, themselves. The author writes in the first-person narrative, and it flows step-by-step like a story of their life. Autobiographies contain personal accounts of the subject’s life, along with their perspectives and opinions on events in their life.

How To Write a Biography

Pick a subject.

Picking a subject is the first step in writing a biography. You can pick an already famous person or a relatively unknown person with a great life story. If you already have a few in mind, you can start by asking yourself some questions such as;

• What has the subject accomplished that makes them a good subject?
• Have they had an impact on society?
• Is the subject a celebrity or a well-known personality?
• Will the biography appeal to a wide audience?

Get Permission

When you pick a subject, the next thing to do is to get permission from them or their family or rights owners. Although, with some historical figures, there may not be any need for permission. Getting permission from your subject makes it easier for you to get stories to put into your book. You can get the chance to obtain additional personal stories and anecdotes that will make your book more interesting by doing so as well.

Do The Research

Research is the most important part of a biography’s process as the entire content of the book is dependent on it. Irrespective of what you know about the subject, you need to carry out as much research as possible to get the story’s facts precisely.

Biography research comes from various sources, depending on the book’s subject. Firsthand reports from family, friends, or personal accounts from the subjects are primary sources. They are usually the most accurate and reliable, and they are crucial for a biography. Secondary sources come from other sources like magazines or documentaries.

Pick a Format

Biographies come in various formats, with each of them having their pros and cons. A typical biography will start at the beginning, usually with the birth and childhood of the subject. Yet, if the biography’s theme involves a different event in their life, the author may want to explore the flashback option or one with concurrent events from different times.

Usually, biographies have a theme or a general life lesson at the center. The author’s role is to tell the subject’s story leading up to the major event.

Which-ever format you choose should place the theme at the center, with the other events detailing the journey.

Create a Timeline Of The Story

Since a biography takes place in chronological order, there needs to be a timeline of the events in the right order. The timeline should contain the key events in the subject’s life, in the order the author plans on revealing them. A great way to declutter the story and keep it interesting is to use flashbacks . This way, the author can introduce past events and explain later events excluding the element of monotony.

Add In Your Thoughts

The good thing about biographies is that you don’t have to stick to the hard facts only. As the author, you can share your opinions and emotions in writing. The author has the freedom to do this by commenting on a significant action by the subject in a manner that describes why they feel the subject may have done what they did.

The author can also include commentary on events depicted in the biography – how it was influenced society or its impact on the lives around them. Recounting these events through a different perspective can make the biography more relatable and interesting to read.

FAQ’s

Why is a biography template important.

A biography template has an outline that makes the writing easier for the author. Biography templates usually contain a sample timeline, format, and questions that provide more information about the subject. With a great biography template, you can cut your writing time in half and spend less time coming up with an outline.

How are biographies better in comparison to autobiographies

Since a different person writes biographies, they tend to be more objective and somewhat accurate than autobiographies. An autobiography tells things from the author’s perspective, so their views and perspective cloud it. Thus, a biography will likely tell a more factual story.

These are the important steps you need to take to help you write a great biography. Now, to make things easier for you, we have a free customizable autobiography and biography template that you can use to start your first book. Get the template and start writing today

What are some of the most important elements to keep in consideration while writing a biography?

Any author looking to write a biography must consider the factors below. They aren’t the only important factors, but a biography isn’t complete without them. • Date and place of their birth • Academic background • Professional expertise • Death, if deceased • Facts and anecdotes about the person • Main accomplishments • Detailed accounts of their child and adult life

Biographies tell the untold stories of some incredibly relevant people in the world. But biographies are not always strictly accurate. So, every biographer needs to follow the necessary steps to provide a biography with all the requirements.

Related Documents

How to Write a Biography

Biographies are big business. Whether in book form or Hollywood biopics, the lives of the famous and sometimes not-so-famous fascinate us.

While it’s true that most biographies are about people who are in the public eye, sometimes the subject is less well-known. Primarily, though, famous or not, the person who is written about has led an incredible life.

In this article, we will explain biography writing in detail for teachers and students so they can create their own.

While your students will most likely have a basic understanding of a biography, it’s worth taking a little time before they put pen to paper to tease out a crystal-clear definition of one.

What Is a Biography?

A biography is an account of someone’s life written by someone else . While there is a genre known as a fictional biography, for the most part, biographies are, by definition, nonfiction.

Generally speaking, biographies provide an account of the subject’s life from the earliest days of childhood to the present day or, if the subject is deceased, their death.

The job of a biography is more than just to outline the bare facts of a person’s life.

Rather than just listing the basic details of their upbringing, hobbies, education, work, relationships, and death, a well-written biography should also paint a picture of the subject’s personality and experience of life.

Full Biographies

Teaching unit.

Teach your students everything they need to know about writing an AUTOBIOGRAPHY and a BIOGRAPHY.

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Features of a Biography

Before students begin writing a biography, they’ll need to have a firm grasp of the main features of a Biography. An excellent way to determine how well they understand these essential elements is to ask them to compile a checklist like the one-blow

Their checklists should contain the items below at a minimum. Be sure to help them fill in any gaps before moving on to the writing process.

The purpose of a biography is to provide an account of someone’s life.

Biography structure.

ORIENTATION (BEGINNING) Open your biography with a strong hook to grab the reader’s attention

SEQUENCING: In most cases, biographies are written in chronological order unless you are a very competent writer consciously trying to break from this trend.

COVER: childhood, upbringing, education, influences, accomplishments, relationships, etc. – everything that helps the reader to understand the person.

CONCLUSION: Wrap your biography up with some details about what the subject is doing now if they are still alive. If they have passed away, make mention of what impact they have made and what their legacy is or will be.

BIOGRAPHY FEATURES

LANGUAGE Use descriptive and figurative language that will paint images inside your audience’s minds as they read. Use time connectives to link events.

PERSPECTIVE Biographies are written from the third person’s perspective.

DETAILS: Give specific details about people, places, events, times, dates, etc. Reflect on how events shaped the subject. You might want to include some relevant photographs with captions. A timeline may also be of use depending upon your subject and what you are trying to convey to your audience.

TENSE Written in the past tense (though ending may shift to the present/future tense)

THE PROCESS OF WRITING A BIOGRAPHY

Like any form of writing, you will find it simple if you have a plan and follow it through. These steps will ensure you cover the essential bases of writing a biography essay.

Firstly, select a subject that inspires you. Someone whose life story resonates with you and whose contribution to society intrigues you. The next step is to conduct thorough research. Engage in extensive reading, explore various sources, watch documentaries, and glean all available information to provide a comprehensive account of the person’s life.

Creating an outline is essential to organize your thoughts and information. The outline should include the person’s early life, education, career, achievements, and any other significant events or contributions. It serves as a map for the writing process, ensuring that all vital information is included.

Your biography should have an engaging introduction that captivates the reader’s attention and provides background information on the person you’re writing about. It should include a thesis statement summarising the biography’s main points.

Writing a biography in chronological order is crucial . You should begin with the person’s early life and move through their career and achievements. This approach clarifies how the person’s life unfolded and how they accomplished their goals.

A biography should be written in a narrative style , capturing the essence of the person’s life through vivid descriptions, anecdotes, and quotes. Avoid dry, factual writing and focus on creating a compelling narrative that engages the reader.

Adding personal insights and opinions can enhance the biography’s overall impact, providing a unique perspective on the person’s achievements, legacy, and impact on society.

Editing and proofreading are vital elements of the writing process. Thoroughly reviewing your biography ensures that the writing is clear, concise, and error-free. You can even request feedback from someone else to ensure that it is engaging and well-written.

Finally, including a bibliography at the end of your biography is essential. It gives credit to the sources that were used during research, such as books, articles, interviews, and websites.

Tips for Writing a Brilliant Biography

Biography writing tip #1: choose your subject wisely.

There are several points for students to reflect on when deciding on a subject for their biography. Let’s take a look at the most essential points to consider when deciding on the subject for a biography:

Interest: To produce a biography will require sustained writing from the student. That’s why students must choose their subject well. After all, a biography is an account of someone’s entire life to date. Students must ensure they choose a subject that will sustain their interest throughout the research, writing, and editing processes.

Merit: Closely related to the previous point, students must consider whether the subject merits the reader’s interest. Aside from pure labors of love, writing should be undertaken with the reader in mind. While producing a biography demands sustained writing from the author, it also demands sustained reading from the reader.

Therefore, students should ask themselves if their chosen subject has had a life worthy of the reader’s interest and the time they’d need to invest in reading their biography.

Information: Is there enough information available on the subject to fuel the writing of an entire biography? While it might be a tempting idea to write about a great-great-grandfather’s experience in the war. There would be enough interest there to sustain the author’s and the reader’s interest, but do you have enough access to information about their early childhood to do the subject justice in the form of a biography?

Biography Writing Tip #2: R esearch ! Research! Research!

While the chances are good that the student already knows quite a bit about the subject they’ve chosen. Chances are 100% that they’ll still need to undertake considerable research to write their biography.

As with many types of writing , research is an essential part of the planning process that shouldn’t be overlooked. If students wish to give as complete an account of their subject’s life as possible, they’ll need to put in the time at the research stage.

An effective way to approach the research process is to:

1. Compile a chronological timeline of the central facts, dates, and events of the subject’s life

2. Compile detailed descriptions of the following personal traits:

•      Physical looks
•      Character traits
•      Values and beliefs

3. Compile some research questions based on different topics to provide a focus for the research:

• Childhood : Where and when were they born? Who were their parents? Who were the other family members? What education did they receive?
• Obstacles: What challenges did they have to overcome? How did these challenges shape them as individuals?
• Legacy: What impact did this person have on the world and/or the people around them?
• Dialogue & Quotes: Dialogue and quotations by and about the subject are a great way to bring color and life to a biography. Students should keep an eagle eye out for the gems that hide amid their sources.

As the student gets deeper into their research, new questions will arise that can further fuel the research process and help to shape the direction the biography will ultimately go in.

Likewise, during the research, themes will often begin to suggest themselves. Exploring these themes is essential to bring depth to biography, but we’ll discuss this later in this article.

Research Skills:

Researching for biography writing is an excellent way for students to hone their research skills in general. Developing good research skills is essential for future academic success. Students will have opportunities to learn how to:

• Gather relevant information
• Evaluate different information sources
• Select suitable information
• Organize information into a text.

Students will have access to print and online information sources, and, in some cases, they may also have access to people who knew or know the subject (e.g. biography of a family member).

These days, much of the research will likely take place online. It’s crucial, therefore, to provide your students with guidance on how to use the internet safely and evaluate online sources for reliability. This is the era of ‘ fake news ’ and misinformation after all!

COMPLETE TEACHING UNIT ON INTERNET RESEARCH SKILLS USING GOOGLE SEARCH

Teach your students ESSENTIAL SKILLS OF THE INFORMATION ERA to become expert DIGITAL RESEARCHERS.

⭐How to correctly ask questions to search engines on all devices.

⭐ How to filter and refine your results to find exactly what you want every time.

⭐ Essential Research and critical thinking skills for students.

⭐ Plagiarism, Citing and acknowledging other people’s work.

⭐ How to query, synthesize and record your findings logically.

BIOGRAPHY WRITING Tip #3: Find Your Themes In Biography Writing

Though predominantly a nonfiction genre, the story still plays a significant role in good biography writing. The skills of characterization and plot structuring are transferable here. And, just like in fiction, exploring themes in a biographical work helps connect the personal to the universal. Of course, these shouldn’t be forced; this will make the work seem contrived, and the reader may lose faith in the truthfulness of the account. A biographer needs to gain and maintain the trust of the reader.

Fortunately, themes shouldn’t need to be forced. A life well-lived is full of meaning, and the themes the student writer is looking for will emerge effortlessly from the actions and events of the subject’s life. It’s just a case of learning how to spot them.

One way to identify the themes in a life is to look for recurring events or situations in a person’s life. These should be apparent from the research completed previously. The students should seek to identify these patterns that emerge in the subject’s life. For example, perhaps they’ve had to overcome various obstacles throughout different periods of their life. In that case, the theme of overcoming adversity is present and has been identified.

Usually, a biography has several themes running throughout, so be sure your students work to identify more than one theme in their subject’s life.

BIOGRAPHY WRITING Tip: #4 Put Something of Yourself into the Writing

While the defining feature of a biography is that it gives an account of a person’s life, students must understand that this is not all a biography does. Relating the facts and details of a subject’s life is not enough. The student biographer should not be afraid to share their thoughts and feelings with the reader throughout their account of their subject’s life.

The student can weave some of their personality into the fabric of the text by providing commentary and opinion as they relate the events of the person’s life and the wider social context at the time. Unlike the detached and objective approach we’d expect to find in a history textbook, in a biography, student-writers should communicate their enthusiasm for their subject in their writing.

This makes for a more intimate experience for the reader, as they get a sense of getting to know the author and the subject they are writing about.

Biography Examples For Students

• Year 5 Example
• Year 7 Example
• Year 9 Example

“The Rock ‘n’ Roll King: Elvis Presley”

Elvis Aaron Presley, born on January 8, 1935, was an amazing singer and actor known as the “King of Rock ‘n’ Roll.” Even though he’s been dead for nearly 50 years, I can’t help but be fascinated by his incredible life!

Elvis grew up in Tupelo, Mississippi, in a tiny house with his parents and twin brother. His family didn’t have much money, but they shared a love for music. Little did they know Elvis would become a music legend!

When he was only 11 years old, Elvis got his first guitar. He taught himself to play and loved singing gospel songs. As he got older, he started combining different music styles like country, blues, and gospel to create a whole new sound – that’s Rock ‘n’ Roll!

In 1954, at the age of 19, Elvis recorded his first song, “That’s All Right.” People couldn’t believe how unique and exciting his music was. His famous hip-swinging dance moves also made him a sensation!

Elvis didn’t just rock the music scene; he also starred in movies like “Love Me Tender” and “Jailhouse Rock.” But fame came with challenges. Despite facing ups and downs, Elvis kept spreading happiness through his music.

Tragically, Elvis passed away in 1977, but his music and charisma live on. Even today, people worldwide still enjoy his songs like “Hound Dog” and “Can’t Help Falling in Love.” Elvis Presley’s legacy as the King of Rock ‘n’ Roll will live forever.

Long Live the King: I wish I’d seen him.

Elvis Presley, the Rock ‘n’ Roll legend born on January 8, 1935, is a captivating figure that even a modern-day teen like me can’t help but admire. As I delve into his life, I wish I could have experienced the magic of his live performances.

Growing up in Tupelo, Mississippi, Elvis faced challenges but found solace in music. At 11, he got his first guitar, a symbol of his journey into the world of sound. His fusion of gospel, country, and blues into Rock ‘n’ Roll became a cultural phenomenon.

The thought of being in the audience during his early performances, especially when he recorded “That’s All Right” at 19, sends shivers down my spine. Imagining the crowd’s uproar and feeling the revolutionary energy of that moment is a dream I wish I could have lived.

Elvis wasn’t just a musical prodigy; he was a dynamic performer. His dance moves, the embodiment of rebellion, and his roles in films like “Love Me Tender” and “Jailhouse Rock” made him a true icon.

After watching him on YouTube, I can’t help but feel a little sad that I’ll never witness the King’s live performances. The idea of swaying to “Hound Dog” or being enchanted by “Can’t Help Falling in Love” in person is a missed opportunity. Elvis may have left us in 1977, but he was the king of rock n’ roll. Long live the King!

Elvis Presley: A Teen’s Take on the Rock ‘n’ Roll Icon”

Elvis Presley, born January 8, 1935, was a revolutionary force in the music world, earning his title as the “King of Rock ‘n’ Roll.” Exploring his life, even as a 16-year-old today, I’m captivated by the impact he made.

Hailing from Tupelo, Mississippi, Elvis grew up in humble beginnings, surrounded by the love of his parents and twin brother. It’s inspiring to think that, despite financial challenges, this young man would redefine the music scene.

At 11, Elvis got his first guitar, sparking a self-taught journey into music. His early gospel influences evolved into a unique fusion of country, blues, and gospel, creating the electrifying genre of Rock ‘n’ Roll. In 1954, at only 19, he recorded “That’s All Right,” marking the birth of a musical legend.

Elvis wasn’t just a musical innovator; he was a cultural phenomenon. His rebellious dance moves and magnetic stage presence challenged the norms. He transitioned seamlessly into acting, starring in iconic films like “Love Me Tender” and “Jailhouse Rock.”

However, fame came at a cost, and Elvis faced personal struggles. Despite the challenges, his music continued to resonate. Even now, classics like “Hound Dog” and “Can’t Help Falling in Love” transcend generations.

Elvis Presley’s impact on music and culture is undeniable. He was known for his unique voice, charismatic persona, and electrifying performances. He sold over one billion records worldwide, making him one of the best-selling solo artists in history. He received numerous awards throughout his career, including three Grammy Awards and the Grammy Lifetime Achievement Award.

Elvis’s influence can still be seen in today’s music. Many contemporary artists, such as Bruno Mars, Lady Gaga, and Justin Timberlake, have cited Elvis as an inspiration. His music continues to be featured in movies, TV shows, and commercials.

Elvis left us in 1977, but his legacy lives on. I appreciate his breaking barriers and fearlessly embracing his artistic vision. Elvis Presley’s impact on music and culture is timeless, a testament to the enduring power of his artistry. His music has inspired generations and will continue to do so for many years to come.

Teaching Resources

Use our resources and tools to improve your student’s writing skills through proven teaching strategies.

BIOGRAPHY WRITING TEACHING IDEAS AND LESSONS

We have compiled a sequence of biography-related lessons or teaching ideas that you can follow as you please. They are straightforward enough for most students to follow without further instruction.

BIOGRAPHY LESSON IDEA # 1:

This session aims to give students a broader understanding of what makes a good biography.

Once your students have compiled a comprehensive checklist of the main features of a biography, allow them to use it to assess some biographies from your school library or on the internet using the feature checklist.

When students have assessed a selection of biographies, take some time as a class to discuss them. You can base the discussion around the following prompts:

• Which biographies covered all the criteria from their checklist?
• Which biographies didn’t?
• Which biography was the most readable in terms of structure?
• Which biography do you think was the least well-structured? How would you improve this?

Looking at how other writers have interpreted the form will help students internalize the necessary criteria before attempting to produce a biography. Once students have a clear understanding of the main features of the biography, they’re ready to begin work on writing a biography.

When the time does come to put pen to paper, be sure they’re armed with the following top tips to help ensure they’re as well prepared as possible.

BIOGRAPHY LESSON IDEA # 2:

This session aims to guide students through the process of selecting the perfect biography subject.

Instruct students to draw up a shortlist of three potential subjects for the biography they’ll write.

Using the three criteria mentioned in the writing guide (Interest, Merit, and Information), students award each potential subject a mark out of 5 for each of the criteria. In this manner, students can select the most suitable subject for their biography.

BIOGRAPHY LESSON IDEA # 3:

This session aims to get students into the researching phase, then prioritise and organise events chronologically.

Students begin by making a timeline of their subject’s life, starting with their birth and ending with their death or the present day. If the student has yet to make a final decision on the subject of their biography, a family member will often serve well for this exercise as a practice exercise.

Students should research and gather the key events of the person’s life, covering each period of their life from when they were a baby, through childhood and adolescence, right up to adulthood and old age. They should then organize these onto a timeline. Students can include photographs with captions if they have them.

They can present these to the class when they have finished their timelines.

BIOGRAPHY LESSON IDEA # 4:

Instruct students to look over their timeline, notes, and other research. Challenge them to identify three patterns that repeat throughout the subject’s life and sort all the related events and incidents into specific categories.

Students should then label each category with a single word. This is the thematic concept or the broad general underlying idea. After that, students should write a sentence or two expressing what the subject’s life ‘says’ about that concept.

This is known as the thematic statement . With the thematic concepts and thematic statements identified, the student now has some substantial ideas to explore that will help bring more profound meaning and wider resonance to their biography.

BIOGRAPHY LESSON IDEA # 5:

Instruct students to write a short objective account of an event in their own life. They can write about anyone from their past. It needn’t be more than a couple of paragraphs, but the writing should be strictly factual, focusing only on the objective details of what happened.

Once they have completed this, it’s time to rewrite the paragraph, but they should include some opinion and personal commentary this time.

The student here aims to inject some color and personality into their writing, to transform a detached, factual account into a warm, engaging story.

A COMPLETE UNIT ON TEACHING BIOGRAPHIES

Teach your students to write AMAZING BIOGRAPHIES & AUTOBIOGRAPHIES using proven RESEARCH SKILLS and WRITING STRATEGIES .

• Understand the purpose of both forms of biography.
• Explore the language and perspective of both.
• Prompts and Challenges to engage students in writing a biography.
• Dedicated lessons for both forms of biography.
• Biographical Projects can expand students’ understanding of reading and writing a biography.
• A COMPLETE 82-PAGE UNIT – NO PREPARATION REQUIRED.

FREE Biography Writing Graphic Organizer

Use this valuable tool in the research and writing phases to keep your students on track and engaged.

WRITING CHECKLIST & RUBRIC BUNDLE

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To Conclude

By this stage, your students should have an excellent technical overview of a biography’s essential elements.

They should be able to choose their subject in light of how interesting and worthy they are, as well as give consideration to the availability of information out there. They should be able to research effectively and identify emerging themes in their research notes. And finally, they should be able to bring some of their personality and uniqueness into their retelling of the life of another.

Remember that writing a biography is not only a great way to develop a student’s writing skills; it can be used in almost all curriculum areas. For example, to find out more about a historical figure in History, to investigate scientific contributions to Science, or to celebrate a hero from everyday life.

Biography is an excellent genre for students to develop their writing skills and to find inspiration in the lives of others in the world around them.

HOW TO WRITE A BIOGRAPHY TUTORIAL VIDEO

OTHER GREAT ARTICLES RELATED TO BIOGRAPHY WRITING

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15 Awesome Recount & Personal Narrative Topics

Personal Narrative Writing Guide

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Posted on Jun 30, 2023

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

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

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

How to write a biography: 

1. Seek permission when possible 

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

FREE RESOURCE

Biography Outline Template

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

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

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

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

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

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

Book Proposal Template

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

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

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

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

Browse the web and library archives

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

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

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

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

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

Try to understand their time and social environment

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

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

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

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

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

Interview friends and associates

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

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

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

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

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

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

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

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

Visit significant places in their life

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

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

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

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

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

Create a chronological timeline

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

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

Draft a story outline 

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

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

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

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

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

Or find a unique angle

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

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

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

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

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

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

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

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

Hook the reader from the start

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

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

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

Play with flashback 

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

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

Reimagine conversations

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

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

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

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

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

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

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

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

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

Continue reading

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How to Write a Biography

Last Updated: April 13, 2024 Fact Checked

This article was co-authored by Stephanie Wong Ken, MFA . Stephanie Wong Ken is a writer based in Canada. Stephanie's writing has appeared in Joyland, Catapult, Pithead Chapel, Cosmonaut's Avenue, and other publications. She holds an MFA in Fiction and Creative Writing from Portland State University. There are 7 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 1,858,301 times.

Writing a biography can be a fun challenge, where you are sharing the story of someone’s life with readers. You may need to write a biography for a class or decide to write one as a personal project. Once you have identified the subject of the biography, do your research so you know as much about them as possible. Then, dive into the writing of the biography and revising it until it is at its finest.

Researching Your Subject

• If the subject does not give you permission to write the biography, you may want to choose a different subject. If you decide to publish the biography without the subject’s permission, you may be susceptible to legal action by the subject.
• If the subject is no longer alive, you obviously do not need to ask permission to write about them.

• You may create research questions to help focus your research of the subject, such as, What do I find interesting about the subject? Why is this subject important to readers? What can I say that is new about the subject? What would I like to learn more about?

• For in person interviews, record them with a tape recorder or a voice recorder on your computer or phone.
• You may need to interview the subject and others several times to get the material you need.

• You may also want to visit areas where the subject made a major decision or breakthrough in their life. Being physically in the area can give you a sense of how the subject might have felt and help you write their experiences more effectively.

• When researching the time period ask yourself: What were the social norms of that time? What was going on economically and politically? How did the social and political climate affect the subject?

• You may also include historical events or moments that affected the subject on the timeline. For example, maybe there was a conflict or civil war that happened during the person’s life that affected their life.

Writing the Biography

• You may end up focusing on particular areas of the person’s life. If you do this, work through a particular period in the person’s life chronologically.

• For example, you may have a thesis statement about focusing on how the person impacted the civil rights movement in America in the 1970s. You can then make sure all your content relates back to this thesis.

• Flashbacks should feel as detailed and real as present day scenes. Use your research notes and interviews with the subject to get a good sense of their past for the flashbacks.
• For example, you may jump from the person’s death in the present to a flashback to their favorite childhood memory.

• For example, you may focus on the person’s accomplishments in the civil rights movement. You may write a whole section about their contributions and participation in major civil rights marches in their hometown.

• For example, you may notice that the person’s life is patterned with moments of adversity, where the person worked hard and fought against larger forces. You can then use the theme of overcoming adversity in the biography.

• For example, you may note how you see parallels in the person’s life during the civil rights movement with your own interests in social justice. You may also commend the person for their hard work and positive impact on society.

Polishing the Biography

• Revise the biography based on feedback from others. Do not be afraid to cut or edit down the biography to suit the needs of your readers.

• Having a biography riddled with spelling, grammar, and punctuation errors can turn off your readers and result in a poor grade if you are handing in the text for a class.

• If the biography is for a class, use MLA , APA , or Chicago Style citations based on the preferences of your instructor.

Biography Help

Community Q&A

• Be careful when publishing private or embarrassing information, especially if the person is not a celebrity. You may violate their "Right of Privacy" or equivalent. Thanks Helpful 31 Not Helpful 5
• Have the sources to back up your statements about the subject's life. Untruthful written statements can lead to litigation. If it is your opinion, be clear that it is such and not fact (although you can support your opinion with facts). Thanks Helpful 16 Not Helpful 15

You Might Also Like

• ↑ http://grammar.yourdictionary.com/writing/how-to-write-a-biography.html
• ↑ https://au.indeed.com/career-advice/career-development/how-to-write-a-bio
• ↑ https://grammar.yourdictionary.com/writing/how-to-write-a-biography.html
• ↑ https://www.writersdigest.com/writing-articles/3-tips-for-writing-successful-flashbacks
• ↑ https://www.grammarly.com/blog/how-to-write-bio/
• ↑ https://writingcenter.unc.edu/tips-and-tools/editing-and-proofreading/
• ↑ https://www.plagiarism.org/article/how-do-i-cite-sources

About This Article

Before you write a biography, gather as much information about the subject that you can from sources like newspaper articles, interviews, photos, existing biographies, and anything else you can find. Write the story of that person’s life, including as much supporting detail as you can, including information about the place and time where the person lived. Focus on major events and milestones in their life, including historical events, marriage, children, and events which would shape their path later in life. For tips from our reviewer on proofreading the biography and citing your sources, keep reading! Did this summary help you? Yes No

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What is Life-Writing?

Life-writing involves, and goes beyond, biography. It encompasses everything from the complete life to the day-in-the-life, from the fictional to the factional. It embraces the lives of objects and institutions as well as the lives of individuals, families and groups.

Life-writing includes biography, autobiography, memoirs, letters, diaries, journals, anthropological data, oral testimony, eye-witness accounts, biopics, plays and musical performances, obituaries, scandal sheets, and gossip columns, blogs, and social media such as Tweets and Instagram stories. It is not only a literary or historical specialism, but is relevant across the arts and sciences, and can involve philosophers, psychologists, sociologists, ethnographers and anthropologists.

But life-writing is more than just these kinds of written materials: it can be about love and loss; it can be about family, friendship, marriage, children; it can show how history might be captured in an individual life, or how an individual life is representative of its times. Life-writing has to do with the emotions, it has to do with memory, and it has to do with a sense of identity. Life-writing is vital form of cultural communication.

Writers and researchers are increasingly recognising how much of writing is life-writing, including poetry and fiction. Life-writing is also an integral part of studies relating to the Holocaust, genocide, testimony and confession, and gender and apartheid. 

Cite: What is Life-Writing by The Oxford Centre for Life-Writing at https://oclw.web.ox.ac.uk/what-life-writing . Accessed on <date>

Jun 23, 2023

Biographical Essay Examples: Learn How to Tell a Compelling Life Story in Writing

Explore the art of storytelling through captivating biographical essays. Join us on a journey of discovery as we unveil inspiring examples that teach you how to craft compelling life stories. Step into the world of biography writing and learn how to engage readers with fascinating narratives. Get ready to bring extraordinary lives to life on the page!

The art of storytelling has been an integral part of human culture since the dawn of civilization. It is through stories that we learn about the lives of others, understand different perspectives, and gain insight into the human experience. Biographical essays, in particular, provide a unique opportunity to delve into the life story of an individual and share their journey with readers. In this article, we will explore biographical essay examples and learn how to tell a compelling life story in writing.

What Is a Biographical Essay?

A biographical essay is a piece of writing in which you narrate the life story of an individual. It provides an opportunity for you to conduct research and discover fascinating details and perspectives concerning someone. A biographical essay is also a written account of an individual's life, highlighting their achievements, experiences, and personal characteristics. It can be about historical figures, famous personalities, or even ordinary people who have made a significant impact on the world or those around them. Biographical essays are often used in academic settings to provide insight into a person's life and contributions, but they can also be written for personal, professional, or entertainment purposes.

One of the key elements of a compelling biographical essay is a well-crafted narrative. The narrative structure helps to engage readers and keeps them interested in the story being told. A 

A good biographical essay should have a clear beginning, middle, and end, just like any other story. It should have a strong opening that hooks the reader, a well-paced middle that provides details about the person's life, and a satisfying conclusion that ties everything together.

Biographical Essay Writing Tips

Writing a biographical essay requires careful planning, research, and storytelling skills to create a compelling narrative that captures the essence of a person's life. Here are some tips to help you craft an engaging biographical essay:

Choose a Fascinating Subject:

The first step in writing a biographical essay is to choose a subject whose life story is intriguing and resonates with your audience. Whether it's a historical figure, a famous personality, or an ordinary person who has made a difference, ensure that your subject has a compelling life story that is worth exploring and sharing.

Conduct Thorough Research:

Research is the foundation of any biographical essay. Conduct in-depth research on your subject, including their background, achievements, challenges, and contributions. Utilize primary and secondary sources, such as biographies, memoirs, interviews, and historical records, to gather accurate and reliable information. This research will provide the basis for your essay and ensure that your writing is well-informed and credible.

Develop a Clear Outline:

Before you start writing, develop a clear outline that organizes your ideas and provides a structure for your essay. Outline the main sections of your essay , such as the introduction, background information, key events or milestones, challenges faced, achievements, and conclusion. This will help you maintain a coherent and organized flow throughout your essay.

Tell a Story:

A biographical essay is not just a collection of facts, but a compelling story that engages the reader. Use storytelling techniques, such as vivid descriptions, dialogues, and anecdotes, to bring your subject's life to life on the page. Focus on key events or moments that shaped your subject's life and highlight their emotions, motivations, and experiences. This will create a personal connection between the reader and your subject, making your essay more engaging and memorable.

Be Objective and Balanced:

While it's important to be inspired by your subject, strive to maintain objectivity and balance in your writing. Present a well-rounded and nuanced view of your subject, including their strengths, weaknesses, successes, and failures. Avoid bias or exaggeration, and ensure that your essay is based on factual information and credible sources.

Provide Context:

Provide context for your subject's life story by incorporating relevant historical, social, or cultural information. This will help readers understand the background and circumstances in which your subject lived and provide a deeper understanding of their life and achievements. However, be mindful of not overwhelming your essay with excessive background information, and focus on what is relevant to your subject's story.

Edit and Revise:

Like any other form of writing, editing, and revising are crucial in crafting a compelling biographical essay. After completing your first draft, take the time to review and revise your essay for clarity, coherence, and flow. Check for any factual inaccuracies, grammar, or spelling errors, and ensure that your essay follows a logical structure. Consider seeking feedback from peers or mentors to gain different perspectives and improve your essay.

Show Respect and Empathy:

When writing about someone's life, it's important to show respect and empathy towards your subject. Avoid sensationalism or exploitation of their life story and strive to depict them in a dignified and compassionate manner. Acknowledge their achievements, challenges, and contributions with sincerity and respect, and be mindful of their privacy and personal boundaries.

Be Authentic:

Finally, be authentic in your writing. Share your voice and perspective while staying true to the facts and nuances of your subject's life. Bring your unique perspective and insights to the essay, and strive to make it a genuine reflection of your writing style and personal connection with your subject.

In conclusion, writing a biographical essay requires careful research, storytelling skills, and a respectful

Personal Essay

My Journey: Embracing Life's Adventures

Life is an unpredictable adventure, full of twists and turns that shape who we become. Throughout my journey, I have encountered challenges, triumphs, and everything in between. I have learned that

Resilience and perseverance are crucial in overcoming obstacles, and every experience, whether positive or negative, has valuable lessons to offer. I have also realized the importance of cherishing the present moment and embracing new opportunities with an open heart and mind. Life may be uncertain, but I am determined to make the most of it, explore new horizons, and continually grow and evolve along the way.

Essay Examples

"The Untold Story of Nelson Mandela: From Prisoner to President"

This biographical essay tells the life story of Nelson Mandela, a South African anti-apartheid revolutionary, political leader, and philanthropist who served as President of South Africa from 1994 to 1999. The essay starts with an attention-grabbing opening that introduces the reader to Mandela's imprisonment on Robben Island and the hardships he faced during his time in captivity. It then delves into his early life, education, and activism against apartheid, painting a vivid picture of his journey from prisoner to president. The essay includes anecdotes, quotes, and historical context that provide a well-rounded portrayal of Mandela's life and legacy.

"The Power of Perseverance: The Life of Helen Keller"

This biographical essay tells the remarkable story of Helen Keller, an American author, political activist, and lecturer who was both blind and deaf. The essay begins with an engaging introduction that highlights Keller's disabilities and the challenges she faced from a young age. It then delves into her childhood, her relationship with her teacher Anne Sullivan, and her accomplishments as a writer and social activist. The essay uses vivid descriptions and sensory details to transport the reader into Keller's world and conveys the incredible strength of her character.

"Rising Above Adversity: The Journey of Malala Yousafzai"

This biographical essay tells the inspiring story of Malala Yousafzai, a Pakistani activist for female education and women's rights who survived an assassination attempt by the Taliban. The essay begins with a gripping prologue that describes the attack on Malala and sets the stage for her remarkable journey. It then traces her early life, her advocacy for girls' education, and the challenges she faced under the Taliban's rule. The essay includes anecdotes, quotes, and personal reflections that provide a compelling portrayal of Malala's courage and resilience in the face of adversity.

Writing Inspiration

Writing a biographical essay can be an inspiring and fulfilling endeavor. As a writer, you have the unique opportunity to delve into the life story of an individual and share their experiences, achievements, and personal characteristics with readers. Here are some sources of inspiration that can help you find compelling stories for your biographical essay.

Historical Figures:

Throughout history, there have been countless individuals who have made significant contributions to society, shaped the course of events, or left a lasting legacy. From political leaders and innovators to artists and activists, the lives of historical figures are often rich with intriguing stories that can make for compelling biographical essays. You can choose to write about well-known figures like Martin Luther King Jr. , Marie Curie , or Leonardo da Vinci , or explore lesser-known figures whose stories deserve to be told.

Famous Personalities:

Celebrities, athletes, musicians, and other famous personalities often have fascinating life stories that can make for compelling biographical essays. These individuals often face unique challenges, overcome obstacles, and achieve remarkable success in their respective fields. Writing about their journey, struggles, and achievements can provide insights into their lives beyond the public persona, and offer readers a glimpse into the realities of fame and fortune.

Ordinary People:

While historical figures and famous personalities may be popular choices for biographical essays, the lives of ordinary people can also be a rich source of inspiration. Everyday individual who have faced adversity, achieved personal milestones, or made a difference in their communities can have compelling life stories that resonate with readers. It could be a family member, a neighbor, a teacher, or someone you have come across in your community whose story has profoundly touched you. Writing about their life can shed light on the power of resilience, determination, and the human spirit.

Personal Experiences:

Another source of inspiration for a biographical essay can be your own experiences. Reflecting on your own life story or the lives of those close to you can provide unique insights and perspectives that can make for a compelling narrative. It could be a story of overcoming challenges, pursuing a passion, or learning from failures and successes. Sharing your personal experiences in a biographical essay can be deeply introspective and provide a genuine connection with your readers.

Researching various topics , events, or historical periods can also lead you to interesting life stories that can inspire your biographical essay. Exploring different eras, cultures, or social movements can uncover fascinating individuals whose stories are worth telling.

Essay Structure

The structure of a biographical essay typically follows a basic essay structure consisting of an introduction, body paragraphs, and a conclusion. However, there may be slight variations depending on the purpose of the essay and the specific requirements of the assignment.

Here is a breakdown of the typical structure of a biographical essay:

Introduction

The introduction sets the tone for the essay and should grab the reader's attention. It should provide some background information about the subject of the essay and include a thesis statement that summarizes the main point of the essay.

Body paragraphs

The body of the essay contains the main content and should be organized into several paragraphs. Each paragraph should focus on a different aspect of the subject's life or accomplishments, such as childhood, education , career, or personal relationships. It should provide specific details, anecdotes, and examples to support the thesis statement and provide a clear understanding of the subject's life.

The conclusion ties everything together and should restate the thesis statement differently. It should summarize the key points made in the body paragraphs and leave the reader with a lasting impression. The conclusion may also provide some final thoughts or reflections on the subject's life and legacy.

Famous Personality

Allama Iqbal: A Visionary Poet and Philosopher

Allama Iqbal, also known as Dr. Muhammad Iqbal, was a prominent poet, philosopher, and politician who is regarded as one of the most influential thinkers in the history of modern South Asia. Born on November 9, 1877, in Sialkot, a city in present-day Pakistan, Iqbal grew up in a devout Muslim family and was deeply influenced by the teachings of Islam from a young age.

Iqbal's early education took place in Sialkot, and he later went to Lahore, where he completed his Bachelor's degree from Government College. He then traveled to England to pursue higher education, where he obtained a Bachelor's degree in Philosophy, Politics, and Economics from Cambridge University and later completed his Ph.D. in Philosophy from Munich University in Germany. During his time in Europe, Iqbal was exposed to various intellectual and philosophical ideas, which would later shape his worldview and contribute to his renowned poetry and philosophical writings.

One of Iqbal's most significant contributions was his poetry, which is known for its rich imagery, deep philosophical insights, and powerful messages of spiritual awakening and social reform. Iqbal's poetry was deeply rooted in his love for Islam and his longing for the revival of Islamic values and principles in the face of colonialism, social injustices, and moral decay.

In his poetry, Iqbal emphasized the importance of self-realization, self-respect, and self-reliance, and called for Muslims to rise above their individual and societal challenges and strive for excellence. He actively participated in the struggle for the rights of Muslims in British India and advocated for the establishment of an independent Muslim state. Iqbal's famous Allahabad Address in 1930, where he proposed the idea of a separate Muslim state in the Indian subcontinent, laid the foundation for the creation of Pakistan as an independent nation for Muslims in 1947.

Despite his remarkable contributions, Iqbal's life was not without challenges. He faced criticism, opposition, and personal setbacks during his lifetime, but his unwavering commitment to his beliefs and his passion for serving humanity remained unshakable

Life Stories

Throughout history, countless individuals have left indelible marks on the world through their remarkable lives. From visionaries and leaders to artists and activists, their stories inspire and captivate us, showcasing the boundless potential of the human spirit. Here are three compelling biographical stories of individuals whose lives have had a lasting impact on society.

Nelson Mandela: The Courageous Anti-Apartheid Activist

Nelson Rolihlahla Mandela, born on July 18, 1918, in a small village in South Africa, grew up witnessing the oppressive system of apartheid, which enforced racial segregation and discrimination. As a young man, Mandela became a vocal advocate for the rights of Black South Africans and joined the African National Congress (ANC) to fight against apartheid.

Mandela's activism and resistance against the apartheid regime led to his imprisonment for 27 years, during which he became an international symbol of the anti-apartheid movement. Despite the harsh conditions of imprisonment, Mandela remained steadfast in his beliefs and never wavered in his pursuit of justice and equality.

After his release from prison in 1990, Mandela continued his fight against apartheid and worked toward reconciliation and unity among all racial groups in South Africa. In 1994, he became the country's first Black president through the first fully democratic elections, and he served as President of South Africa from 1994 to 1999. Mandela's leadership and unwavering commitment to justice and equality continue to inspire people around the world, making him an iconic figure in the fight against oppression.

Frida Kahlo: The Resilient Mexican Artist

Magdalena Carmen Frida Kahlo y Calderon, known as Frida Kahlo, was born on July 6, 1907, in Mexico City, Mexico. She is widely regarded as one of the most prominent and influential artists of the 20th century, known for her surrealist and vibrant self-portraits that conveyed her physical and emotional pain.

Kahlo's life was marked by immense physical and emotional challenges. At the age of 18, she was involved in a devastating bus accident that left her with severe injuries, including a broken spine and pelvis. She endured numerous surgeries and spent months in bed recovering, during which she turned to painting as a means of expressing her emotions and experiences.

Kahlo's art was deeply personal and often depicted her physical and emotional pain, her Mexican heritage, and her feminist ideologies. Her paintings often featured vivid colors, surreal elements, and symbolic imagery, which earned her international recognition and acclaim.

Despite her physical challenges, Kahlo's resilience and determination to pursue her passion for art never wavered. She continued to paint and create despite her chronic pain and multiple health issues, and her art continues to captivate and inspire audiences around the world to this day.

Malala Yousafzai: The Fearless Education Activist

Malala Yousafzai was born on July 12, 1997, in Mingora, Swat District, Pakistan. From a young age, Malala was a passionate advocate for education and girls' rights in her native Swat Valley, where the Taliban had enforced a ban on girls' education.

At the age of 11, Malala began writing a blog for BBC Urdu under a pseudonym, where she documented her life under Taliban rule and her determination to fight for education. Her activism gained international attention, and she became a prominent voice for girls' education worldwide.

Embarking on the journey of life, we encounter a tapestry of experiences that shape who we are and add depth to our existence. From overcoming obstacles and celebrating growth to embracing new opportunities, we come to appreciate the captivating unpredictability of life's adventures. Each of us holds a unique journey, filled with invaluable lessons and cherished memories that fuel personal development. 

When it comes to writing biographical essays, tools like Jenni.ai can be a game-changer. With its AI-powered features, Jenni.ai offers invaluable assistance in developing strong thesis statements, and helping you produce high-quality articles. By leveraging this, you can save time and energy while producing exceptional work. 

Embrace the art of writing biographical essays, and unlock new avenues of academic and professional success by following the steps outlined in this article and harnessing the power of Jenni.ai. Seize the opportunity to become a skilled essay writer by signing up for Jenni.ai today , and embark on a transformative journey towards achieving your writing goals!

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How to write your life story: 7 tips to start

Aspiring autobiographers often mail us asking, ‘how can I write my own story?’ Try these 7 life writing tips to start:

• Post author By Jordan
• 64 Comments on How to write your life story: 7 tips to start

Aspiring autobiographers often mail us asking, ‘how can I write my own personal story?’

How can I craft a compelling narrative?’ It can seem like a daunting task writing and researching your life experiences.

It can be a challenging writing project, but a valuable and creative one. It’s a chance to organise the narrative arc of your life, key impactful moments in your life, reappraise where you’ve been and where you’re going. You’ll also see what life lessons you have experienced and can share that with readers. It can be a rewarding creative writing project. 

There are several book genres to consider when writing a life story: autobiography (a whole sweep of a life), memoir (which tends to focus on a theme, or a particular time in one’s history), or an essay collection. 

Try these seven life writing tips to start:

1. Decide whether you’ll write non-fiction or fictionalize

There are many ways to approach life writing. You could follow a non-fiction approach and set down dates, facts and memories as close to events as they occurred as possible.

Another option is to fictionalize and blur the line between fact and fiction. This approach to life writing may be useful if you want to:

• Protect your identity or those of others while writing about trauma or difficult subject matter
• Experiment with elements of fiction and a playful approach even if you are wanting to write it as a nonfiction book of real-life events. 

Hedi Lampert, one of our writing coaches, takes this approach in her fictionalized memoir, My Life with my Aunt. Although it’s based on a true story, there are many fictionalised elements in it.

Although you might go with a non-fiction approach, add all the elements of fiction that you need to. For example, include strong characters (build them up in the reader’s mind), flesh out the supporting cast, include description, use the five senses as much as possible, include dialogue, and so on. 

Example of experimental life writing: Roland Barthes by Roland Barthes

The French theorist Roland Barthes begins his memoirs with a preface that reads:

It must all be considered as if spoken by a character in a novel. Roland Barthes,  Roland Barthes  (1977).

Barthes proceeds to give the reader fragments written in the third person , alternating with captioned photographs from his youth. For example, in one fragment titled ‘Arrogance’ he writes:

He has no affection for proclamations of victory. Troubled by the humiliations of others, whenever a victory appears somewhere, he wants to go somewhere else . Barthes,  Roland Barthes ,  p. 46.

Describing himself in the third person, Barthes gives the reader insights into his views and values, as an ordinary autobiography might . Yet in their fragmentary, third-person presentation (without narrative), they become like brief, philosophical musings, rather than a traditional linear ‘story’ with character development. The memoir is told very much in the voice of a theorist and scholar of language.

2. Choose an approach to time

Time is an interesting element to conside r when deciding how to write your life story.

For example, will your book cover birth to the present day? Or a few weeks or months spanning either side of a momentous life event?

First-person narrators in fiction give us examples of narrative approaches to time we can also adopt in writing about our lives.

For example, the title character of Charles Dickens’ David Copperfield begins his story by describing the setting for his birth:

To begin my life with the beginning of my life, I record that I was born (as I have been informed and believe) on a Friday, at twelve o’clock at night. Charles Dickens,  David Copperfield  (1850), p. 5 (1992 Wordsworth Editions).

After detailing the day and time of his birth, David goes into closer setting detail:

I was born at Blunderstone, in Suffolk, or ‘thereby,’ as they say in Scotland. I was a posthumous child. My father’s eyes had closed upon the light of this world six months, when mine opened on it. Dickens,  David Copperfield,  p. 6.

This approach to time gives a linear sense of the way a life progresses, from childhood. It’s a common narrative approach in many bildungsromans (coming-of-age stories).

You can also, however, experiment with time in writing your life story.

You could start with a significant event that happened later in adulthood, for example, and circle back to past scenes that illuminate backstory and help the reader to understand what led up to later events.

As you plan how you’ll write  time in your life story, ask, ‘What would provide the strongest dramatic effect?’

Begin Your Story with Confidence

Delve into your life story with our Kickstart Your Novel course. Over six weeks, gain the clarity and direction needed to start writing compellingly about your experiences.

3. Do what you need to set aside any fear

Many writers feel daunted when embarking on a new project. This is often particularly acute when writing about more personal experiences or real life where you don’t have the protective veil of fictional characters.

When the acclaimed biographer of Virginia Woolf, Hermione Lee, was asked whether fear is a useful emotion for a biographer, she replied:

The fear has to be channeled somehow into the energy of the work. While you’re doing it, I think you have to feel that she is yours and you alone understand her. But in order to arrive at that feeling you have to deal with, and master, your apprehension. Hermione Lee, interview in ‘Hermione Lee, The Art of Biography No. 4’ for The Paris Review, available here . 

Lee goes on to describe how the biographer Richard Homes coped with this feeling. He said:

I get to my desk every morning and I hear these little voices saying, ‘He doesn’t know what he’s doing!’ and I raise my arm and I just sweep , I sweep them off the desk.’

Find your own way to silence any fear, be it changing key figures’ names or even fictionalizing your life entirely.

Personal Guidance on Your Journey

Writing your life story is a journey of discovery and reflection. Navigate it with an expert by your side. Our private coaching offers personalized feedback, encouragement, and the critical insights needed to transform your personal experiences into a captivating narrative. Let us help you tell your story with authenticity and emotional depth.

4. Summarize significant events to cover

Any one person’s life is a massive archive or trove of significant experiences and memories. As Hermione Lee says, the immensity of this ‘source material’ can feel overwhelming.

As a preparatory step in deciding how to write your life story, summarize key events you want to include. Try to write just two lines for each incident or scene you’re thinking of including (you can create and organize scene summaries in our Scene Builder tool ). This will help you plot the key points of your life story, and may even help you with arranging the story thematically. If not already apparent, the narrative arc of your story will become apparent.

You’ll also see what life lessons you have experienced and can share that with readers. Remember you don’t have to write your entire life story from year dot.

Another important point is to remember to describe in detail. Sometimes when we are writing from memory or the ‘mind’s eye’, because the landscape in our recollections is familiar to us, we sometimes don’t describe things. We might say, ‘We lived in that house for ten years.’ We can see the house, because it’s so deep in our memory, but the reader can’t. Describe the house: ‘It had redbrick and a red tiled roof and small windows that let in hardly any light.’ That tells the reader a lot more than ‘that house’.

At the heart of great life writing (as with great fiction), there’s often a main internal conflict and/or an external conflict. A key tension or experience the autobiographer confronts. Tweet This

For example:

• A moment of awakening or discovery of purpose
• Family or personal trauma
• Career or financial difficulties: retrenchment, having to sell your home 
• Relationship troubles
• A breakup or divorce 
• Birth of a child
• Death of someone significant

What core experience (or group of experiences) will your story frame?

5. Allow your authentic voice

As in fiction, in life writing the voice of the memoir author helps to create a distinct sense of character.

The acclaimed memoirist and poet Mary Karr gives excellent advice to aspiring life-writers on voice in her book The Art of Memoir (2015). Writes Karr:

Each great memoir lives or dies based 100 percent on voice. It’s the delivery system for the author’s experience—the big bandwidth cable that carries in lustrous clarity every pixel of someone’s inner and outer experiences. Mary Karr,  The Art of Memoir  (2015), p. 35.

Karr cautions against covering up aspects of your own voice to appear more palatable a person to readers. She says:

The voice should permit a range of emotional tones – too wise-ass, and it denies pathos; too pathetic, and it’s shrill. It sets and varies distance from both the material and the reader – from cool and diffident to high-strung and close. The writer doesn’t choose these styles so much as he’s born to them, based on who he is and how he experienced the past. Karr, p. 36.

6. Avoid telling the truth in oversimplified terms

In Karr’s chapter, ‘The Truth Contract Twixt Writer and Reader’, she discusses the value of telling the truth (rather than ‘pumping yourself up’ for your audience):

How does telling the truth help a reader’s experience, though? Let’s say you had an awful childhood – tortured and mocked and starved every day – hit hard with belts and hoses, etc. You could write a repetitive, duller-than-a-rubber-knife misery memoir. But would that be “true”? And true to how you keep it boxed up now, or to lived experience back then? Back then, those same abusers probably fed you something, or you’d have died. Karr, p. 2.

What Karr’s words strike at is that the ‘truth’ is often something more complex than what makes us look good (or others look bad).

One of the important lessons in learning how to write your life story is how to portray people not simply as heroes and villains. Indeed, to rather show the bits of life between people’s better and worse choices that flesh out more complex portraits, with more colours (and more shades of grey). As Karr says:

It’s the disparities in your childhood, your life between ass-whippings, that throws past pain into stark relief for a reader. Karr, p. 2.

Your Life, Your Story

Ready to write your life story but not sure where to start? Sign up for a Now Novel account. Brainstorm your story idea, create compelling character profiles, and share your work for community feedback. Begin crafting your life narrative today.

7. Get help pulling your life story into shape

Writing memoir or a fictionalized autobiography is challenging because you are dealing not only with the standard elements of story (conflict, narrative, voice and more) but also personal areas. Some of these may be more challenging to revisit (or capture in prose) than others.

Due to the many challenges involved (including the challenge of subjectivity), don’t be afraid to ask for help.

Karr writes about sending people she’s included in memoirs manuscript drafts to ensure embellishment does not disservice the person or the story. Beta readers may provide valuable input, more so if they were bystanders or active participants in the events you describe.

You can also get help from a writing coach who will help you begin weaving personal experience and anecdote into a better, fuller story.

Related Posts:

• How to write a biography: 7 life-writing ideas
• How to write memoir: 9 ideas for a vivid slice of life
• How do you write a dystopian story? 5 tips
• Tags how to start writing a memoir

Jordan is a writer, editor, community manager and product developer. He received his BA Honours in English Literature and his undergraduate in English Literature and Music from the University of Cape Town.

64 replies on “How to write your life story: 7 tips to start”

am 15 yrs old I’m writing my own story.Thanks

Hi Desmond, good luck writing your story. Thank you for reading our articles!

Hello. I enjoyed reading your tips, in fact I am copying them off for reference if that is ok. I began the memoir/life story before and lost all my data with computer failure. Dumb me, lesson learned to back things up on a couple of flash drives so that doesn’t happen again. So, I am beginning again, after reading your notes here that may have been a blessing in disguise as I have learned so much reading your article. Thank you for publishing this, it will be invaluable as I begin again!! 🙂

Hi Jenny, thank you for reading! Please do feel free to copy anything for reference. I’m so sorry to hear about your data loss, that is frustrating. Glad you’re creating backups this time around, though. Have a creative, inspired 2021, from all of us at Now Novel.

Good day I don’t have a comment but I would love to write my life story as I know it could you help me on this matter thank you.

Hi Catherine, thank you for sharing that. Go for it! I would say start by creating a list of life events you feel would be important to include. Look within them for a good starting point, is there a specific, pivotal event out of which the rest of your life story could unfold in narrative?

If you share a little more about what aspect of your life is compelling you to write (you can email us at [email protected] ) I’m sure we can provide more detailed, specific help.

Hi Jordan, am happy that this morning i came across your article, the artcle mae a good start of writing my own life story. i have been thinking on how to start for a while but now i see my path. Thanks.

Hi Joyce, I’m happy to hear that this article was helpful and you can see the path ahead. I hope you make great progress and discover many moments of excitement and revelation as you proceed.

[…] https://www.nownovel.com/blog/how-to-write-your-life-story/ […]

Hand written my not finished book of 350 A4 Pages

Hi Freda, that sounds like an epic, impressive to have written it by hand. Good luck with what remains of the process.

Hi, my son gave me an empty book pages cover with my childhood pictures.I started some lines. Actually I was searching a writer about my Sisters life story which is very interesting. You’re Tips are good.

Hi Cloty, that sounds a lovely gesture on your son’s part. It’s interesting that you’d like to write your sister’s life story, is there a reason you’d prefer to write about her life rather than your own? Good luck with it, I’m glad you’ve enjoyed our articles.

Very good guide lines

Thank you, Cloty!

I’ve given a lot of thought to writing my story, and haven’t been sure how to get started. I’ve finally been doing some digging, and came across this article. My experience to date is blogging, so a book seems intimidating, but broken down like this it’s a little less scary. I think I’ll create an account here, see what else you have to offer!

Hi Tara, thank you for sharing that. Being a blogger you already have some good writing experience, I’m sure. That is the trick, breaking it down into manageable, less daunting tasks. Please do, and thanks for reading our blog!

Hello Jordan. I am writing a life story but specifically the love interests and most memorable experiences. Your tips have been so helpful. My main problem is that I don’t know whether to write separate chapters for each or separate short stories for each because the timelines overlap a lot. Please help.

Hi Lindo, I’m so glad to hear that you’ve found the Now Novel blog helpful. It depends whether you have a running narrative thread (if the individual love stories add up to a specific outcome or growth or other arc) or each is more fragmentary/discontinuous (despite the timeline overlap).

If the latter, I would suggest short stories as if there’s no narrative end-point (for example, a new learning or insight these love interests and experiences lead to), then each might be more self-contained. Sending the stories as a collection to an editor would likely help, as this would firstly polish the individual pieces but an evaluation could also give insights into how to connect them all together.

I hope this is helpful, keep going!

Hello and thank you. I enjoyed reading your article. I am considering writing my life story however I am not sure of whether I would like to write an actual tell all/novel/biography-book or if I would actually like to write a screenplay instead. A lot of your methods can be translated the same way when writing a screenplay. I would eventually like my story to become a movie. Should I write the book 1st or just go straight to the screenplay? Which is a better route?

Hi Tony, thank you for your interesting question. Many screenplays are based on novels or biographies and I think it helps to write in book-from first, since you then have the shape of the story down, the research (if needed) and other elements such as characterization in place. From there you could whittle and carve the best possible use of mise en scene , dialogue etc. out of what you have. It would be an interesting way to build a sound framework for a tauter screenplay in other words, I’d say.

I need to write my life stories but is confused. I know it can change someone’s life or journey . I have been saying this for 20 years or more ….why am I not doing it ? ….

Hi Dawn, thank you for sharing that. All I will say is: Start! 🙂 And thank you for reading our blog.

I want to write my life stories very interesting, but some negative idea comes to my mind. That is my story is not so much important, i am not knowen person any field of work,…etc. But now i get clues ,so i am initate to write my own autobiography.

Hi Zenenbe, I’m glad you’re writing regardless of those doubts. It’s natural to have doubts, but there are stories worth telling and sharing in every life – whether the teller is famous/well-known or not ?. Good luck!

Your tips are very helpful. I have started entering short stories competitions (written in first person)for practice! Now starting on Fictional/factual life story and find Tip 1 and 3 helpful to give my characters fictional names and feel comfortable also using 3rd person i.e.she. Also more confident about introducing fictional events into my story to make it more compelling for the reader while still being authentic.

Hi Lyn, I’m glad you found this helpful. It’s great you’re entering short story competitions, that’s great practice. Absolutely, many non-fiction authors embellish for the sake of story. Good luck with your contest entries!

Wonderful article. Just wanted to let you know of a new service that helps you in putting together your life story. https://www.huminz.com/ It makes writing your story fun. And then brings your story to life

Hi Etan, thank you and thanks for sharing your web app for memoir-writing, it looks interesting.

It’s been long overdue, I’m 54 yrs old now. I finally have come to terms in writing an autobiography of myself. Life experiences I have encountered from my 1st memory as a child. At the age of 4yrs old, the year was 1971 Christmas Eve. First memory to my life awaken by the Jaws of life. My mind has been a camera through every moment in my life. What would be read on the publisher end, would be so intrigued to see all the drama, hardships. Caught up in how I survived my dilemmas, with all to be said, physically be right their with me. So consumed from your start of my life to relive my nightmare. Totally lost on how I still have so much compassion & love till this day. Never a dull moment adventure ,trauma, abuse, raped, child molesters. I’m ready to bring it all to an end to start a life I was expected to do as child in middle school. Looking forward to replaying the camera that has consumed my eyes & life experiences. Not sure where I will have to submit my book when I have achieved my story.

Hi Kathleen, thank you for sharing that. It’s never too late to share one’s life story (and from the subject matter you mentioned, I’m sure your courage in telling your story could greatly help others who’ve been through similar life experiences). I’m glad you’re looking forward to the process – go for it. Once you have a first draft you could think about submission (for now I’d say focus on the task at hand which is getting the first version of your story down).

I find the article really useful.Thank you so much for the enlightenment. I have more than twice in my lifetime thought of sharing my life story through a book,but have often felt like it was a load of work to do so. But reading through your article and also reading through the comment section,I feel like its the right time.Thank you so much for being an inspiration especially with me as a beginner.

Hi Mere, it’s a pleasure, thank you for reading our blog and for sharing that. Writing is a lot of work, but it’s rewarding work I’d say. I hope you enjoy the process. Feel free to join our writing groups where you can chat to others at a similar stage of the journey.

That is nice,and thanks for that

Ok,I need your help more

Hi Mary, thank you for reading our blog and a Happy New Year to you. What would you like help with? Please feel free to mail us any questions at help at now novel dot com.

Hi , i wanted to write my life story, how to start?? Any help?

Hi Hana, thank you for sharing your question. I would start by brainstorming a list of key/significant events in your life you want to include, as these you can then plan scenes and scene structure around; once you know what experiences in your life you want to tell most. As a guiding principle, I’d suggest brainstorming incidents that are:

• Emotionally impactful – wins, losses, trials, turning points
• Illustrative – of where you’re from, who you are, what you value and have learned or overcome

This is a loose starting point but I would say is a good preparatory process for sifting through memories and ideas and finding topics and subtopics to organize your life story around. I hope this helps!

Thank you sir Jordan for sharing these tips. I am planning to write my life story. However, I’ll write a story because of the problems and negative things that happened to me in the past and I’m a little bit shame about my experiences but I want to make a story that can inspire many and motivate them. I also ask on how to start writing. Is there any chapter? and how to divide some events of your life into writing a story.

Hi Joash, it’s a pleasure, and thank you for sharing this. Life-writing can be hard because of this – that there are often traumas and painful experiences one wants to write about but there is often fear attached as sometimes society tells us these areas are taboo; that we aren’t allowed to talk about them.

A writing teacher gave a writing circle I belonged to great advice once – ‘turn the family portraits to the wall’ (in other words, banish silencing figures and, ‘What would uncle so-and-so say?’ from your writing space, if possible). You can edit for sensitivity/intensity in the passages that are uncomfortable later if necessary, but the first draft is for telling yourself the story, and nobody else’s potentially shaming perspectives matter at this stage.

There are many places to start. One of the classic autobiographical starting points is when you were born (what year, place, era, political moment). I would suggest reading a few biographies and taking notes on the opening to see the many possibilities. Ask whether the beginning is effective, what information the author focuses on, whether they start with a description, a statement, or something else. A great biographer to read is Hermione Lee – she has written many acclaimed biographies of famous writers and artists.

THANKYOU FOR SHARING,SIR JORDAN

It’s a pleasure, Gladys! No need for honorary titles 😊 just ‘Jordan’ is fine. Thank you for reading our blog.

Hi Jordon it’s nice we can communicate with you and take ideas from you I want to start writing and I’m so pleased to know you !

Hi Randa, thank you for reaching out and for reading our blog – it’s good to meet you.

I have been mulling over writing my life story and being asked by many to do so, however, have no clue where to start. I could not write using my own name as the need for my protection for others is immense. What would you suggest?

Thank you for reading this article and for your question. I would suggest changing names if necessary and writing under your own name. You could also change a few fundamental details in the story arcs of the others you wish to protect (and make it so-called creative non-fiction) so as to further obscure their identity or the possibility of readers connecting the story back to the real people involved. If it is possible, you could also ask anyone who features whom you personally know for their permission to be included as a character in your memoir. If they wish to remain anonymous, then changing their name (and some details as suggested above) would help to protect their privacy.

I hope this helps.

Hi Jordan, have been difficulties on to start my life story,what is the best title for the story do i need to mention names.

Hi Gristone, it’s difficult to advise on a title not knowing anything about the scope or subject matter of your memoir. My suggestion would be to look at the memoir and autobiography titles currently selling well and study titles for ideas – where do the titles draw from? The person’s vocation or profession, a specific aspect of their personality, a specific life experience or struggle they overcame?

If you mean mentioning names in your title, not necessarily. It could be descriptive or it could be more straight-up, e.g. ‘[Name}: [Descriptive phrase]’. I hope this helps.

I been searching and collect some ideas how to start my life story which i think can give inspiration , for those who lost hope in life.

Thank you Jordan for this write-up. I plan to write the story of my life and I needed a guide as to how to start.

Hi Ogbu, it’s my pleasure. I hope it was helpful and wish you a good experience in writing your life story. Let me know if you have any further questions.

My book I have been working on for many years has been my life story of more trauma that seems unreal I started from birth of what I read from mom’s and grandma’s diaries in their words then what I remembered. From birth to 15 . Childhood secrets to motherhood at 16 domestic violence and drug abuse. Marriage 25 years of escaping after 9 attempts divorced never free. Stauked violated for years. Gas lighting still to this day and I am 59 years old soon. With the knowledge I know things I would have done differently and want to pass on that to anyone it may help. The name of my book is Broken -Post Vietnam untold stories of a military family what happened after the war. It’s a story of molestation, shame , guilt ,PTSD a lifetime of struggle . A mentally wounded father. And generational mentally wounded family. Most dysfunctional family hidden behind closed doors

Hi Patricia, I’m truly sorry to hear that you’ve been through such traumatic experiences and I commend you for wanting to help others through writing your life story. It’s important as a society we talk about these things and don’t just sweep them under the rug, but it is brave to confront them and bring them to light (and healing, I hope) too. Best of luck with your story. It sounds particularly interesting in that it touches on what it’s like being in a military family, as I know people who had similar experiences in military families. War is traumatizing on multiple levels and its deleterious impact is far-reaching.

hi Jordan, I have always been a bit of a story teller, all through my life in fact. I never really attended school but after my children I decided to go to college as part of an access course into nursing. one of the modules was English at A Level equivalent. I achieved a B in my written work But an A* in my Oral exam. I know this doesn’t make me a writer and I’m certainly not a reader but I can tell a good story, especially if its something factual happening in my life. I have got to an age in my life where I have lived so much love, loss, happiness and drama, not to mention how different things were back when I was a child to society today and I would like to reflect the stages of my life and how I feel emotionally and mentally. I would like to write my life story fictionally but based on true life events and experiences. This is to protect my identity and that of all the people involved due to the content. I don’t want to do it all in one book, 58 years of living my life couldn’t possibly be captured in one go. please can you advise me on where to start

Hi Lucy, Thanks for getting in touch. The article offers great tips for starting out, but one idea is to start by writing short stories inspired by the different stages in your life. You should reflect on any memories that stand out to you, the key points in your life story, then incorporate the details and the emotions that they evoke. If you need more advice, we can recommend our coach Hedi Lampert who has recently made more slots available in her schedule for new clients.

thank you Jordan for this article honestly it helps me so much and i have a lot to learn from it i am 16 and i am trying to write my life story cause i need to talk about a lot of things about like my trauma , absent father , strict mom that give me no freedom and always controlling , being pressure since 9th grade to get a scholarship and till now i am in 11th going to 12th still be pressure trying to be the perfect daughter , sacrifice happiness and mental health in order to get all A’s and whenever something happened to me i am the only that is always there for myself , whenever i cry i wipe my own tears and it has now get to the point i keep telling myself very soon i will old enough to live my life but every time i try to write the story i don’t know where to start from but reading this article just boost my knowledge and one things that bothered me is fear , i don’t know but every time i try to write something i always have fear or even before i started writing i will just start cry for no reason i think maybe cause i am not ready to write then i will give my self time but the same things will repeat it self so my fear and emotions is always holding me back and i don’t know why that happen but every time fear and emotions hold me back so i have now decided how will write it no matter what even though i will end up with red eyes from crying but i will not let my fear take over me , thank you so much for taking time to read this i will love to hear back

Dear Tee Tee, Thanks for writing in. I’m sorry to hear that it’s difficult for you to write your story. This can be something that stops you from starting. I think it’s useful to begin your story, as this is something you want to write about. If you’re not sure where to start, perhaps start by writing some ideas, an outline of what you’d like to write? Or, you could place ideas/themes that you would like to explore, eg: absent father as one theme, strict mother, another theme, and write some ideas of what you’d like to explore in relation to these themes. Hope these ideas resonate with you. Feel free to write in with any further questions.

I am 16 years old and I am starting to write a story about my life and this reading really helped me learn the steps on how to write it and the examples helped to! Thank you for making this reading. It has helped me so much!!

Hello Nevaeh,

That’s so wonderful to hear! Enjoy the writing process!

Great article, which I will share with my writers’ group. I am about two thirds of the way through the first volume of my memoir and conisdering submitting it to an agent with a proposal. I will get it read and edited by a mentor before I go ahead.

Thanks for your comment John! It’s wonderful that you’re writing a memoir. Good luck with it all!

Thanks so much John. Good luck with your memoir!

This really helped Thank you!

I’m so pleased to hear that. Good luck with your own life writing.

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Article contents

Life writing.

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

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

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

• autobiography
• autofiction
• life narrative

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

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

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

From Biography to Autobiography to Life Writing

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

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

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

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

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

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

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

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

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

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

Backlash, Boomlash, and Boom Echo

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

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

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

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

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

Biography Studies Sustained—Residual as Dominant and Emergent

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

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

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

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

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

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

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

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

Autobiography and Auto/Biography—Mapping Self-Representation

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

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

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

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

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

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

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

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

Life Writing and Life Narrative—Emergence and Pervasion

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

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

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

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

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

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

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

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

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

Are Life Narratives always Life Writing?

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

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

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

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

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

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

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

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

Future Thoughts—Life, Biobits, and the Environment

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

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

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

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

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

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

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

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

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

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

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

3. Kadar, “Coming to Terms,” 9.

4. Kadar, “Coming to Terms,” 10.

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

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

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

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

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

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

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

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

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

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

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

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

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

18. Jolly, Encyclopedia , ix, x.

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

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

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

22. Smith and Watson, Reading Autobiography , 211.

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

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

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

26. Smith and Watson, Reading Autobiography , 215.

27. Smith and Watson, Reading Autobiography , 218.

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

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

30. Kadar, “Coming to Terms,” 10.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

67. Kadar, “Coming to Terms.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

96. Kadar, “Coming to Terms.”

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

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

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

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

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

102. Kadar, “The Devouring,” 226.

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

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Centre for Life History and Life Writing Research

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Life history and life writing research uses life story - whether in the form of oral history, personal narrative, autobiography or biography - as a primary source for the study of history and culture.

Life history and life writing research uses life story - whether in the form of oral history, personal narrative, autobiography or biography - as a primary source for the study of history and culture. Life stories capture the relation between the individual and society, the local and the national, the past and present and the public and private experience. Research involves grappling with theories of memory, relationship and self representation, and with debates about literacy and orality. Many disciplines contribute to the field, including history, sociology, anthropology, literary philosophy, cultural studies and psychology. Life history and life writing researchers present their work in many forms. As well as academic publications, we contribute to radio and television documentaries, auto/biographical drama, reminiscence work, digital and video presentations and exhibitions. Life history and life writing research is, of necessity, concerned with ethics and power relationships, and with the potential for advocacy and empowerment.

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Sussex retold: sounds, sites, stories. , rethinking regional arts, crafts, folklore and music  through participation, partnership and performance.

The arts, crafts, folklore and music of the South Downs come from land-workers, shepherds, fishers, farmers, traders, makers, writers, story-tellers and songsters. They express life with the chalk, cliffs, turf and clouds of the region, including as populations, industries and landscapes have changed over time. Investigating these in partnership with local heritage, council, land and cultural organisations, we rethink ways to re-story development from an inclusive perspective and where natural, cultural and regional heritages relate.

Project people include:  Professor Margaretta Jolly : Principal Investigator,  Dr Hope Wolf : Co-Investigator,  Professor Ed Hughes : Co-Investigator,  Dr Sam Carroll : Heritage Consultant and Project Manager

This project is supported by the  Centre for Life History and Life Writing Research , the  Sussex Centre for Modernist Studies  and the  South Coast Sustainability  group within the Sussex Sustainability Research Programme. We also acknowledge and thank our funder, the Arts & Humanities Research Council (AHRC) Impact Acceleration Account (IAA).

New book by CLHLWR vistiing research scholar:

John horner and the communist party, uncomfortable encounters with truth.

by Rosalind Eyben, Routledge, 2024

CLHLWR associate researcher Rosalind Eyben has just published in Routledge’s Radical Politics and History series a life of her father.  John Horner was a leading trade unionist and activist who became disillusioned with the Communist Party. Rosalind’s book is for anyone concerned with the problem of political allegiance, personal morality and associated states of denial that were to haunt Horner in later life. It will also be of interest to scholars and students researching communism and the Communist Party.

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QuickTips: The Blog @ Evidence Explained

Writing Historical Biography

15 February 2015

Oh, yeah! We all know that problem. It is a challenge, but it's doable. Successful historical biographers —after they conclude that they have already exhausted available records for their person-of-interest—usually take this approach:

• Study every history of every type that has been written on the region—social, religious, military, economic, or whatever. If newspapers are available and have yielded no hits for their person, they read those papers anyway, every issue for the relevant time frame.
• Rather than looking for a particular person, they use these sources to draw an understanding of the region. That understanding of what life was like, at the time and place, enables them to recreate their person's environment and to place their person—accurately and meaningfully—upon that stage of history. Whatever few personal details they had gleaned from their focused study should enable them to determine the strata of society to which their person belonged and the kind of role their person would have played. That is something they can write about, and putting a person into historical context is an essential part of biography.
• Presumably their focused research on that person included his or her "FAN Club ," 1 in which case some of the elusive person's friends, associates, or neighbors will appear in those newspapers or general histories. Their activities offer a framework for better understanding why that person-of-interest did or did not participate in the same events as their associates. So,  these biographers ask: Have I taken my research on these associates beyond the basic records? Have I combed online catalogs of manuscript sources to determine whether the neighbors, pastors, or other "unofficial record keepers" of the region left diaries or letters that might provide more evidence for the elusive person's life?
• Successful biographers, when they digest those general histories, also study them for their sources. Most modern works will have reference notes or bibliographies (a general list of sources used). Many olders ones don't (and many modern ones are incomplete). Therefore, historical biographers watch for instances in which sources are generically mentioned in the text and compile their own worklist of new sources to pursue. Doing so almost always generates new information on the low-key, limelight-shunning person-of-interest—or, at the least, a better understanding of what he or she would have done and why.

E's QuickSheet series, The Historical Biographer's Guide to ...,  offers many other ideas.

     1. For more on this principle, see Elizabeth Shown Mills, "QuickLesson 11: Identity Problems & the FAN Principle," Evidence Explained (https://www.evidenceexplained.com/content/quicklesson-11-identity-problems-fan-principle : posted 26 August 2012).

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How to Write a Biography for a Funeral Program + Examples

Updated 05/11/2022

Published 03/10/2021

Belinda McLeod, BA in Secondary Education

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After a person dies, someone in the family usually writes a biography or obituary about the person. This task sometimes falls to a friend or the funeral director may also help with the writing process. 

You may then submit the biography or obituary to the newspaper through the funeral home. Most newspapers charge families a per-word rate to print the article. You may also write the obituary for the funeral program on the funeral home’s website.

Check out our tips for writing a biography for a funeral. We will also give you short biography examples to help you with your task of telling your loved one’s life story. 

Jump ahead to these sections:

Steps for writing a biography for a funeral, funeral biography samples.

Think of a biography (or obituary) as a news article informing the general public about a death that occurred. Even though you may feel emotional when writing an obituary, this is not typically the outlet for writing about your feelings. 

Even though the biography is an informative article, it is up to you to include the details. You can include pretty much whatever you want, but it’s a good idea to get the family’s general consensus regarding what you will write about in the biography.

The number and types of details may vary, depending on the person and where the biography or obituary will be used. A biography (or obituary) read at a funeral may include more details than one printed in the newspaper or funeral program . 

Step 1: Start with the general facts

You want to identify the deceased first. Use the full name (with the maiden name in parentheses) and the age of the person. If the deceased had an often-used nickname, consider putting it in quotes. 

The more identification factors you use makes it less likely that your loved one gets mistaken for someone else. This is especially important if your loved one had a common name. 

Step 2: Consider including the essential dates in the obituary

Some families choose to include the birth date and death date of the deceased in the obituary. You can present this information in a variety of ways. 

Others avoid giving this detailed information in hopes of limiting the likelihood of fraudulent activity. You may provide partial information, such as “She was born to Bob and Mary Smith in October 1982.”

Step 3: Consider including the cause of death

The family must decide whether or not to include the cause of death. Most people who read the biography will wonder, “What happened?” This question may seem nosy to you, but it is only human nature to be curious about such matters. 

Some families choose to leave this information out of the biography, which is their prerogative. Others may view it as a piece of information that may be helpful to future generations. Some may give partial information, such as “Mary Frankie Jones, 65, passed away after a long illness.”

Step 4: Include information about the early life of the deceased

Most people choose to include the names of the parents of the deceased as well as the city of birth. Again, only include specific information if you feel comfortable; some unscrupulous individuals use this biographical information for nefarious purposes.

You may consider including where the deceased graduated high school and/or college. Include any brief military service during this section of the biography as well.

Step 5: Include other family information

Often, you list a deceased person’s marriages in the article chronologically and list children at the end of the article as “survivors to the deceased.”

For some, it’s easy to write about the deceased’s spouse but makes a difficult task for others. Again, there are no “rules” on who to include, so you and your family must make those determinations.

People agonize over whether to include estranged family members. You may also wonder whether to label stepchildren differently than biological children. Ex-spouses and long-term partners that never marry may pause you as you write the obituary. 

Each situation is different, so most etiquette guides recommend that people do their best to keep their relationships with their living family members intact by not limiting the list of survivors in the obituary. 

Step 6: Write about your loved one’s professional life

A funeral biography is not the same as a resume, but most people give at least some general information about how the deceased earned a living. 

If the deceased worked his entire adult life at one place of business, you would include this detail in the obituary. If he job-hopped but stayed in the same industry, you may include a sentence about his profession.

You may make this section of the biography longer for those with active careers. 

Step 7: Consider including information about community involvement

Many families choose to include their loved one’s involvement in community groups. For example, you may choose to include the deceased’s involvement in a specific church, civic organization, or volunteer group. You may also want to include any offices that the deceased held in any of these organizations as well as any awards earned. 

Step 8: Add any details that made your loved one special

There’s much more to life than work and club memberships. Think about other details you could include in the biography that would help people understand what made your loved one unique. 

Perhaps you want to write about how she was a Star Wars superfan and waited in line each time a new film was released. Maybe your loved one was an avid camper and fisherman and spent each weekend in a tent. 

You may want to write a lengthy exposition about what made your loved one special, which you should do. Use this information to write your loved one’s eulogy or share your writing with close family members. Depending on where you publish it, you may find your writing limited by the amount of space available. 

To get you started in your writing process, read these short, fictional obituary snippets. 

For a parent or grandparent

Douglas Richard Schrute, 82, passed away peacefully in his home on Monday, June 23, 2020. His wife of 53 years was by his side at the time of death.

Douglas was born on December 22, 1938, to Richard and Mary (Sullivan) Schrute in Elmwood, Illinois. He was the fourth son born to the couple. 

After graduating from Elmwood High School, he joined the U.S. Army, serving his country in Korea.

For a child or grandchild

Mary Kate is survived by her parents, Michael and Patricia Carmichael, and one brother, Cole. Other survivors include her maternal grandparents, John and Tawnya Crabtree, and her paternal grandparents, Frank and Louise Carmichael. 

For a partner or spouse

Peter worked in the telecommunications industry all his life. He began his career at Southwestern Bell in 1973 and retired from AT&T in 2018. He worked as a technical salesperson for most of his professional life. 

For an adult without immediate family

Michael will always be remembered by his friends as the “man of 1,000 stories.” He began each conversation by saying, “Stop me if you’ve heard this before,” which no one ever did. He was the life of the party, and laughter followed him wherever he went. 

For someone who died after a long illness

Jack passed away Friday, December 8, after a long battle with lung cancer. 

The family wishes to express appreciation to the Elmwood Hospice organization for helping make his transition to heaven as peaceful as possible.

Take Great Care When Writing the Biography of a Loved One

If you are in charge of making all of the arrangements, you may find yourself overwhelmed by your list of “to-do” items. 

Even though you may find yourself pressed for time, carefully consider the wording of your loved one’s biography or obituary. Take care to be as accurate as possible by double-checking dates, the spelling of names, and other facts. 

Anytime you write something of this level of importance, it is good to have other family members and friends check the piece for accuracy, clarity, and grammar. Have others proofread the funeral program as well and help you pick which modern funeral program to include. 

You only have one chance to write the obituary of your loved one, so take your time as you complete this task. 

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Lesson of The Day

Writing a Short Biography With Obituaries

In this lesson, we invite students to learn about obituary writing in The New York Times, and then write about someone who led an interesting life, using the format of an obituary.

By Erica Ackerberg

Lesson Overview

Featured Section: Obituaries

When the reporter Margalit Fox retired, she reflected on her career as an obituary writer at The New York Times: “Writing daily obits only reinforced what I had long suspected: It is the best beat in journalism. The reason is simple: In following their subjects from cradle to grave, obits are the most narrative genre in any daily paper. For a writer, there is little better than being paid to tell stories.”

Since 1851, hundreds of thousands of obituaries have appeared in The Times. In the most basic sense, an obituary is an announcement of someone’s death. But each one is also a life story: It highlights the impact a person had on the world and what made him or her special. Those you’ll see in the pages of The Times are usually of famous people, such as Hank Aaron or Betty White , but you’ll also find obituaries of lesser known, but otherwise newsworthy, people, like Betty King, who worked backstage at Carnegie Hall, and André Cassagnes , the inventor of the Etch A Sketch.

In this lesson, you will read some of the obituaries published in The New York Times to find out what they’re like, what kinds of information they typically include and how they are written. Then, you’ll research and write an obituary for someone who led an interesting life.

Curriculum Connections

Teachers, writing an obituary can help your students practice essential research, writing and storytelling skills. You can have them write obituaries for people they knew, notable figures or anyone else whose life story is worth knowing. Here are a few ideas for different subject areas:

An English teacher might have students write an obituary for a character from a shared class text to better understand who that person was, what was important to him or her and what effect he or she had on others in the book. Students could also write obituaries for authors or other important people from your curriculum.

A social studies teacher could do the same with a historical figure. A math or science teacher might pick an influential person from a field of study students are learning about.

Health or advisory teachers could use this lesson to talk about ways to remember and memorialize those who have died. They might engage students in discussion on how different cultures honor the dead.

Watch this trailer for a documentary about the Obituaries desk of The New York Times, and think about the following questions:

What does it mean that obituaries are a way “to make the dead live again”?

Does writing or reading about someone who has died feel depressing to you, or even creepy? Or, as with these obituary writers, do you find it intriguing?

Is there anyone whose life story you would like to tell? What made that person’s life special or meaningful?

Pick one of these obituaries to read. Or search through the Obituaries section to find one that interests you.

Questions for Writing and Discussion

Read the obituary you chose, and then answer the following questions:

1. What, if anything, did you know about this person before you read his or her obituary?

2. List some basic facts about the person: Where and when was he or she born? Who was in his or her family? What did this person accomplish in life? When and how did he or she die?

3. Why do you think The New York Times wrote an obituary about this person? What made this person newsworthy? How was his or her life special?

4. Was there anything about the person’s life that surprised you? What detail did you find most interesting? Why?

5. What, if anything, do you find inspirational about the person’s story?

6. Now, read the obituary as a writer. What do you admire about the way this piece was written? What is your favorite line, and why?

Going Further

Now, it’s your turn: Write an obituary for someone — perhaps someone you knew personally, a historical figure you are learning about in school, a character from a novel you are reading or anyone else whose life story you’d like to tell.

1. First, you’ll need to do research. You might read newspaper articles or biographies, watch or listen to interviews featuring your subject, or talk with the person’s family members or friends.

(If you’re speaking with someone whose loved one has recently died, remember to approach the conversation with compassion. When Neil Vigdor, a Times reporter, calls someone who has lost a family member or a friend, he starts by saying, “I’m deeply sorry to be reaching out under these circumstances.” Then he asks to hear more about the person who died.)

2. Next, you’ll need to identify the most basic facts of the person’s life and death. Here is part of a tip sheet from The Times’s Obituaries desk on the essential information every obituary should include:

Date of death Place of death Age at death Cause of death Full birth name, and place and date of birth Education Military service Marriages, to whom and when; and divorces, if there are any. Names of parents, siblings, spouse or companion and children. Numbers of grandchildren and great-grandchildren. The more biographical background the obituary can give, the better. For example, how did they start their careers? Details like education and military service should be given when relevant or interesting. If possible, give the names and occupations of the subject’s parents, as well as his or her place and date of birth.

But you don’t want your obituary to just be a list of dry facts. Add what journalists call “color.” What made this person’s life interesting? In “ How to Write an Obituary, ” Malia Wollan interviews Victoria Chang, a poet who wrote obituary poems after her mother died, and gives examples of these kinds of details:

“Everyone is special and quirky, and I think the best obituaries capture the essence of those qualities about each of us,” Chang says. What things did she collect? What did she love to eat? What brought her joy?

3. Finally, it’s time to write. The format of an obituary is often uniform. Ms. Wollan describes it this way:

An obituary tends to have three distinct parts: the beginning (name, age, date of death, cause of death [if possible to include], work, education); the middle (anecdotes that celebrate the person’s life); and the end (so-and-so is survived by, which Chang calls “a very efficient way of saying who’s grieving.”)

Also, consider the tone you want your obituary to have. Ms. Wollan continues:

An obituary is for the living, but you should consider the sensibilities of the deceased. How would the person want to be remembered? “Imagine what they would write about themselves,” Chang says. It’s OK to be funny. “There’s a lot of humor and oddity, strange tensions and funny stuff about people and the things they do together,” Chang says.

And if you want to get creative, instead of writing a traditional obituary, make a slide show of the person’s life with photos and text , put together a mixed media collage or write an obituary poem, as Ms. Chang did for her mother. Share what you make with your class.

If you want to learn more about obituaries in The New York Times, the documentary “ Obit ” is available on Amazon Prime. You can also listen to this interview on NPR with two obituary writers from The New York Times.

Want more Lessons of the Day? You can find them all here .

How to Write a Short Professional Bio (With Examples and Templates)

3 key takeaways

• What a short professional bio is and why you need one
• What to include in a short bio to make it stand out and relevant to your audience
• Examples, templates, and a faster way to write your bio with Teal's Professional Bio Generator

In a world where just about everyone is represented online, your short professional bio often serves as a first introduction.

Often, it's what employers or other professionals will use to form their initial impression. And how you present yourself can help influence whether someone invites you to connect, interview you, or simply move on.

Below, you'll learn what you need to write your bio and how to actually write one. You'll also find templates and some short professional bio examples to use as a guide.

Looking for a quicker way to a polished bio? Sign up for Teal for free and try the Professional Bio Generator.

What is a short professional bio? 

A short professional bio is exactly what it sounds like—a short professional biography that introduces yourself and gives a brief overview of your career and accomplishments. It gives future employees, colleagues, and anyone else you're networking with a more well-rounded picture of who you are.  

While "short" can be subjective, length often depends on the platform and the audience you're sharing your bio with. There's no one-size-fits-all, and you'll tailor the length based on where it's being shared—whether that’s on your personal website, LinkedIn profile, Twitter bio, or your resume.

What’s the difference between a professional bio and short professional bio?

A professional bio and a short professional bio both summarize your career, qualifications, and achievements, but each caters to different contexts and needs. 

A professional bio is a detailed account—that can span several paragraphs—and covers your:

• Career background
• Most noteworthy achievements and impact or results
• Skills you've developed or are developing
• Some personal insights

This version is appropriate for professional websites, long-form pitch documents, or networking platforms (like in your LinkedIn About Me section) where a more thorough introduction is valuable.

On the other hand, a short professional bio is a concise version that filters the most important information from your professional bio into key takeaways. A short bio:

• Communicates your core qualifications
• Briefly touches on your professional persona
• Is ideal for your resume, author bio, or speaking engagements
• Can be used across social media profiles like Twitter and Instagram

What to include in a short bio 

Your short bio should summarize the key takeaways from a longer, more rounded-out professional bio. Think of it as kind of an elevator pitch that highlights what you'd want your target audience (who doesn't know much—if anything—about you) to understand about your career so far.

Here are some things you'll want to address.

• Level of education, if relevant to the audience
• Years of experience in your field, if relevant to the audience
• Your current or former career title
• Major professional accomplishments with impact or goals
• Professional experience, skills, and area(s) of expertise

Now, if you're a student or making a pivot, like transitioning into a new field where you might not have relevant work experience, you'll focus more on your educational achievements (think relevant awards, projects, or volunteer experience) and the skills and knowledge you're developing.

What to include in a short bio if you’re a student

Even if you're still in school, there's plenty of information you can include in your bio, like: 

• Where you're from
• What university, trade school, or boot camp you're attending
• Your area of study or intended major
• Any clubs, teams, volunteering, or other extracurriculars you're a part of 
• Any internships you've completed
• Your career goals 
• Your availability

Generate your professional bio with AI

Want to save time? You can also use the Teal to generate multiple versions of your short professional bio.

How to write a short bio

There's no right or wrong way to write your own bio. Think of this next section as a guide, and remember: short professional bios are unique to each person.

Here are the things you might want to consider if you're ready to write your professional bio:

1. Choose your voice

You have the option to write your short bio from either a first or third-person POV.

In the first person, you'll use  "I, me, and my." In the third person, you'll refer to yourself using your name and preferred pronouns.

As a general rule, using the third person is typically considered more formal, while using the first person is more casual and personal.

 First-person example : "I'm a bestselling author. My work has been published in The New York Times."

Third-person example: "Zane Smith is a bestselling author. His work has been published in The New York Times."

If you want to write and store multiple versions of your short professional bio in different tones or even with different information, use Teal to write and save as many versions as you need for free.

2. Choose your tone

Language can convey different moods. Depending on the context and your personal brand , your bio can sound more buttoned-up or more relaxed and conversational.

These two sentences describe the same person but showcase very different tones and writing styles: 

Example 1: “A recent graduate of the University of Pennsylvania, Sally is currently a consultant at XYZ Consulting based out of their New York office.” 

Example 2: “A recent UPenn grad, Sally swore off econ after years of hard classes only to end up as a consultant at a major firm — but don't worry, she loves it.” 

3. Start with your name and a current or recent role

This isn't a hard and fast rule, but to get your bio started, it's usually easiest to start with your name and current professional title or role. 

Example: “Zane Smith is currently the Demand Generation Manager at ABC Tech Company.”

If you're pivoting careers , you can list your most recent role and use your first sentence to say what you're looking to do next.

Example 1: “Previously the Demand Generation Manager at ABC Tech Company, Zane Smith is actively pursuing new opportunities in marketing management.” 

Example 2 : “Previously the Demand Generation Manager at ABC Tech Company, Zane Smith is now an aspiring 2nd grade teacher.” 

4. Share your accomplishments and achievements

Once you've introduced yourself and your current title, you can flow into your professional background, former job titles, and what you've done or aspire to do. Together, the first two sentences of your bio could read something like this: 

Example:  “Zane Smith is currently the Demand Generation Manager at ABC Tech Company. Previously, he was a Marketing Specialist at FGH Tech Company, where he grew paid traffic to their website by 500% year over year.” 

Pro Tip: Not sure where to start? Try the generative AI in the Teal Resume Builder . With Teal's AI, you can write individual achievements using a job description, keywords, or a custom prompt to articulate your accomplishments effectively and confidently.

5. Share your philosophy or “why” 

Self-promotion can feel incredibly uncomfortable, but it's important to make sure you don't undermine your value. Your “why,” the reason you do what you do every day, can be powerful and meaningful. Adding what gives you the spark to start each workday can set your own professional bio apart from others. 

Example: “Claire was inspired to pursue a career in elder law after volunteering in a nursing home throughout high school and college.” 

6. Add your personal touch

Even though your bio will be used in a professional capacity, it's okay to list a few personal details. We're more than just our jobs, and adding a few personal facts can help illustrate who you are outside of the office. 

Example: “When he's not working, Martin can be found tending to his spice garden and going on nature walks with his golden retriever.” 

Short professional bio examples

Examples of professional bios are invaluable because they provide a clear framework and inspiration for writing your own. They can also help you see how to condense years of experience into a few compelling sentences so you communicate the right details clearly, briefly, and full of impact. 

Short bio example for a personal website

"AUDREE KATE LOPEZ IS A FASHION STYLIST, EDITOR, INDUSTRY EXPERT AND INFLUENCER BASED IN NEW YORK. Audree began her professional career in the fashion departments at Glamour, O, the Oprah Magazine, Editorialist and Redbook magazines. She launched Audree Kate Studios in 2017 and worked on freelance projects at Marc Jacobs, Alice + Olivia, J.Crew and Club Monaco, joined the styling team at Alice + Olivia and became a contributing fashion editor for StyleCaster.com. Over the past few years Audree has styled for various publications, celebrities and retail brands. In 2016, Audree founded a digital course and community for fashion students called Fashion Fundamentals and has hosted workshops and classes around the country, and wrote an ebook titled Fashion Fundamentals."

Why it works: Audrey's bio immediately establishes her as a multifaceted professional within the fashion industry. It outlines her career trajectory and showcases broad experience and evolution, demonstrating growth and adaptability. The mention of initiatives and workshops adds a layer of approachability and commitment to education in her field, improving her appeal as an influencer and mentor.

Professional short bio example on LinkedIn

"Latina creator. Speaker. Tech Mentor. Christen is the Founder of the newly launched app Clara, a community that empowers creators through transparency, brand reviews, and discoverability. An industry vet, Christen has almost a decade of experience working with top content creators at social networking companies such as Instagram, TikTok, and Pinterest. She is a motivational speaker and mentor in the tech space who is passionate about helping people break into the industry through career advice and actionable content."

Why it works: This professional bio online is punchy and concise. It opens by noting Christen's titles and includes years of experience, giving her credibility while underscoring her heritage (which can resonate strongly with a diverse audience on LinkedIn). By focusing on her app, she not only showcases initiative but also aligns herself with trends in tech innovation. Rounding out her short bio are details of working with top content creators, establishing her as a seasoned industry pro.

Short bio example on social media

"Founder of Makelane, a private community for female DTC founders. 70K followers on TikTok where I analyze consumer brands"

Why it works: With only 160 characters to work with, Dulma’s Twitter bio is an example of brevity. It clearly outlines her two main pursuits: managing an online community and producing content for TikTok, making it easy for readers to gauge her interests and activities at a glance.

Company website short bio examples

"Meet our wonderful team We're a tight-knit group of curious creatures, always learning, and constantly seeking out new perspectives and ideas. Get to know our team—they're what makes Teachable, well, Teachable."

Why it works: "Meet our wonderful team" feels like a personal invitation to get to know the group, which can make visitors more inclined to engage. Describing them as "tight-knit" and "curious creatures" adds character and illustrates a vibrant and collaborative work environment. Highlighting that the team is "always learning" and "constantly seeking out new perspectives" positions Teachable as a dynamic and innovative company—committed to growth and evolution.

Tips for writing a short bio

Even though there aren't official rules for writing a bio, there are still some things you should strive for as well as steer clear of if you want to make the best possible impression. 

1. Tailor your professional bio to your audience

Whether it's potential employers, LinkedIn connections, Twitter followers, or visitors to your website, each platform and audience has its own expectations. Keep your information relevant and concise, focusing on what matters most to that intended audience.

2. Be authentic

Your bio is not the place to fudge the truth about who you are. Be honest about what you've done and where you're heading. Not telling the truth could bar you from achieving your goals and land you in hot water. 

3. Prioritize relevant information

We really hate to be the one to tell you this, but unfortunately, most people do not have the time or patience to read a five-paragraph essay about your life story. Sorry to break it to you! 

4. Be relatable

No matter how lofty your accomplishments are, staying grounded may help you establish stronger connections with others. This is where adding personal details and highlighting your personal brand can serve you well. Whether that's with a hobby, interest , or other role outside of work, being relatable can let others understand and get to know you better and determine if you would be a good fit for a company.  

5. Be professional

It's appropriate and expected for you to talk about your professional skills and accomplishments in your short bio. That said, there's a fine line between talking about your achievements and sounding arrogant. These two examples talk about the same accomplishment but come across differently: 

Example 1: “An accomplished pianist, Ryan was selected out of nearly 7,000 applicants to perform at the annual New York State School Music Association festival last spring.” 

Example 2: “An accomplished pianist, Ryan was the obvious choice to perform at the annual New York State School Music Association festival last spring (because he's the best).” 

Also, if you're revising your bio after a lay-off or termination, avoid sounding spiteful. As tempting as it might be, don't make negative statements or accusations in your short bio. Positivity and a good attitude will get you much further.

Short professional bio templates

If you prefer to plug and play or need a short bio in a pinch, don't worry; here are three short bio templates to get you started:

Short professional bio template for working professionals

[First name last name] is [currently/formerly] a [insert most recent job title] at [most recent company name] . A proud graduate of [school or university] , they were inspired to pursue a career in [field] after [explain what led to your decision to work in your industry] . Prior to working at [most recent job title], they were the [previous title] at [previous company], where they were responsible for [insert professional accomplishments here] . In their free time, they can be found [insert your favorite hobbies] . 

Short professional bio template for students

[First name last name] is a current [year] at [institution] majoring in [area(s) of study] . On campus, [First name] is actively involved in [activity name] , for which they [insert details about what you do for the activity you're involved in] . They most recently [interned/worked] at [organization name] , where they had the opportunity to [insert details about what you did on the job] . They intend to work in the [insert field name or industry] after graduation to follow their passion of [insert what you are passionate about] . In their spare time, they can be found [insert your favorite hobbies] . 

Short professional bio template for a gap in employment

[First name last name] is a [position/job title] with [number] years of experience in [specific skills or industry] . Following [briefly mention the reason for the employment gap] , [he/she/they] took some time off to focus on [briefly mention what they did during the gap, e.g., personal development, family obligations, health reasons] . During this time, [he/she/they] also [briefly mention any relevant skills or achievements acquired during the gap] . [Name] is now eager to return to the workforce and is excited to bring [specific skills/accomplishments] to [his/her/their] next role. With a proven track record of [list specific achievements or skills] , [Name] is confident in [his/her/their] ability to contribute to [specific industry/profession] and make an impact in [his/her/their] next position.

If you decide to use any of these templates, tweak it ever-so-slightly. Once you've finished entering your details, try adding a bit of personal flair.

Swap adjectives, remove anything that doesn't quite fit with your vibe or experiences, or append some more personal details as you see fit. Feel free to work off of any one of the bios from these resume examples to get a feel for how different styles can be used across roles.

Create your short professional bio with Teal

In a digital world where your online presence often speaks before you do, writing a good, short professional bio is more important than ever. It's the first glimpse potential employers, clients, or colleagues get of your professional life and persona, and the right presentation can open doors to new opportunities and connections. 

Teal's Professional Bio Generator saves time by speeding up the writing process with AI. Whether you're trying to impress potential employers, clients, or peers, Teal's generator adapts to your needs and experience, allowing you to create a unique short bio for any audience with one click.

Ready to write a professional bio with maximum impact in less time?

Frequently Asked Questions

What is an example of a short professional bio.

An example of a short professional bio is: "Katie is a seasoned marketing professional with over 10 years of experience in digital advertising strategies. She has helped numerous brands achieve their online marketing goals, leading to increased visibility and 3x revenue YoY."

How do you write an impressive short bio?

To write an impressive short bio, focus on your most significant achievements, relevant skills, and experiences that set you apart. Keep it concise and tailored to your audience to engage and leave a memorable impression. You can also use the Teal  AI Resume Builder  Generative AI to craft a bio that highlights your unique professional journey and skills in an engaging way.

What is a short biography about yourself?

A short biography about yourself should concisely summarize your professional background, major accomplishments, and skills. For example, "I'm an innovative software developer with 5 years of experience in creating scalable applications, known for my ability to troubleshoot complex issues and my commitment to delivering high-quality software solutions."

Emily Polner

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