definition of biography essay

How to write a biography essay

• March 29, 2022

A biography essay is a type of academic writing that tells the story of someone’s life, typically focusing on their achievements, struggles, and impact on the world.

In this article, we’ll provide you with a step-by-step guide on how to write a compelling biography essay that engages readers and tells the story of a person’s life in a meaningful way.

Choose a person to write a biography

First you need to choose a person to write about. The person should have made significant contributions to his/her respective field. This person should also be well-known as you will need resources to find information.

For this guide, we will be writing our biography essay on French-Algerian philosopher and author Albert Camus . There’re some reasons why Albert Camus is a suitable topic for a biography essay:

• He is an influential person in his field.
• He has many works that we can refer to in our essay .​
• There are many reliable sources where we can find information about him. ​

Gather information on the person

You need some information about your the person you chose. While getting this information, pay attention to two main factors: the credibility of your source and what information you are putting in your essay.

Credibility of your source

• Does this source have any authors and/or editors listed?
• Does this source cite or link to trustworthy sources?​
• Is this source prepared professionally?​

If your sources check all the boxes, they are most likely reliable sources . However, if a source doesn’t have any authors, has no citation, or is poorly written, consider it risky.

Information included in the essay

• Is this information useful in the context of my essay?
• Is this development remarkable in my subject’s life story? ​

You can definitely add the information if they meet these criteria. If not, it’s best to keep them out.

Use of important information on the person

Now, we will be choosing information from Albert Camus’ life story to include in our biography essay. 

• Albert Camus was born on 7 November 1913 in French Algeria. (We choose to include this information because it is reasonable to start with this line for a biography essay.)
• He published his essay The Myth of Sisyphus in the year 1942. (This information is essential because this essay explains his notion of “the absurd,” a philosophy he is widely known for.)​
• He was awarded the Nobel Prize for Literature in 1957. (This event is a significant acknowledgment of his works; therefore, it should be included.)​
• He died on 4 January 1960 in France. (A reasonable ending point for a biography essay.) ​

Create an outline

Preparing an outline is essential for biography essays just like any other essay . You can follow our typical outline preparing process in this step because biography essays also adhere to the traditional essay structure.

Biography Essay Outline Example

Albert Camus Biography Essay

• Open with a curious quote by Albert Camus
• Explain how Camus contributed to his field
• Further explore Albert Camus' stance on the field
• Present your thesis statement
• Topic sentence of your paragraph
• Albert's accomplishments and more personal information
• Closing sentence
• Restate your thesis statement
• Mention the importance of Albert Camus
• Finish your essay with memorable concluding sentences by highlighting Camus' importance

Important reminder

Write an introduction.

The introduction paragraph is crucial. Because you need to grab the reader’s attention at this part. This is where a hook sentence is useful. With a hook sentence , you can start your essay in multiple interesting directions for you reader: 

• Start your introduction with a quote from your subject, especially one that reveals their personality.
• Start with an intriguing story or an interesting anecdote about your subject. ​
• Start by informing the reader about a significant accomplishment of your subject.​

Biography essay introduction example

“You will never be happy if you continue to search for what happiness consists of. You will never live if you are looking for the meaning of life.” This is a quote by French-Algerian philosopher, writer, and journalist Albert Camus. Camus was born in French Algeria on 7 November 1913. Opening: Intriguing quote that grabs the reader’s attention and summarizes Camus’ philosophy He is one of the most prominent writers of absurdist philosophical thought. Subject: A sentence which explains the subject’s contribution to their field. Through his works, Camus contributed to the rise of the absurdist philosophy, which was essentially a response to nihilism. Stance: Further explanation of the subject’s stance on the field He wrote works that conveyed an abiding faith in the human race’s displaced but still righteous situation. Thesis statement: You highlight your stand and main focus of the essay.

Biography essay body paragraphs

This is the section where the results of your research come in. Like other types of essays, body paragraphs are the central part of your biography essay (see biography essay example ).

Through these paragraphs, you will discuss the milestones in your subject’s life, their accomplishments, and their works.

Biography essay body paragraph example

During his literary career, Camus published his works in three cycles. In each cycle, he published a novel, an essay, and a play. The first cycle of his works was on “the absurd,” and they were published from 1942 to 1944. Topic sentence: Further exploration of the claim presented in the introduction. This cycle’s works were some of his most significant works: The Stranger as the novel, The Myth of Sisyphus as the essay, and Caligula as the play. Camus also explored the concepts “the revolt” and “the love” through the cycle structure. Subject’s accomplishments: Reveal of the subject’s extensive work on the field Through his major works, Camus earned the Nobel Prize for Literature, and he then published his work named Algerian Chronicles. This work revealed his pacifist tendencies. Personal information: Brief introduction into the subject’s personal reflections. After Camus’ death, two more works of his were released. One is his novel titled A Happy Death and an unfinished autobiographical novel named The First Man. Some of the significant themes Camus explores through his literary career are alienation, rebellion, and guilt. Closing sentence: Information on the subject’s identity.

Biography essay conclusion

In your conclusion paragraph , what you need to do is to bring in your final thoughts. Do not make the mistake (see common mistakes ) of only repeating the claims you made throughout the essay.

As an alternative, you can choose to tie your subject’s legacy into the current day . You can ask yourself these questions to figure out what to say in your conclusion paragraph:

• What was my subject’s contribution to the ideas/events that are relevant today?
• Are they still remembered? How do people honor their work?​
• Out of the people that are significant today, who did my subject influence?​

Biography essay conclusion example

Camus died on 4 January 1960, when he was only 46 years old. He died in a car crash, and many scholars point out the “absurdity” of his death. Restatement: Connection with the subject’s main works Since Camus himself had previously stated that the most absurd way of dying he could think of would be a car accident, people regard his death as ironic. Today, Albert Camus is still considered to be one of the most significant thinkers of Western philosophy. Importance of the person: The subject’s relevancy today He is acknowledged as one of the most critical contributors of the absurdist philosophy. He is referred to as one of the best literary writers of his genre and one of the best thinkers of his age. Closing statement: Concluding sentences by highlighting the subject’s influence

Now you know all the separate parts of a biography essay and how to create them.  Remember that these steps can be used in all academic essays.

Before closing this article, let’s have a look at an extensive biography essay example on Mustafa Kemal Ataturk , you see below. 

5-Paragraph Biography Essay Example

Mustafa Kemal Atatürk: The Modernizer of Turkey

Introduction

Body paragraphs, key takeaways.

• A biography essay should tell the story of a person's life, but also focus on their contributions and impact.
• Start by doing thorough research and organizing your information into a chronological outline.
• Use vivid details and anecdotes to bring your subject to life and make the essay engaging for the reader.
• Incorporate analysis and reflection to help the reader understand the significance of the subject's life and work.
• End with a strong conclusion that summarizes the key points and leaves the reader with a lasting impression.

Frequently Asked Questions

How do you start a biography essay.

Start your biography essay by giving a general information about your subject, such as their profession or importance.

What is biography example?

Biography is a literary work in which a person’s life is narrated. They are based on facts, and the main purpose of them is educating people about well-known individuals.

How do you write an outline for a biography?

A proper biography outline should include details about the information that will be presented in the introduction, body paragraphs, and conclusion.

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Definition of Biography

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

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

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

Common Examples of Biographical Subjects

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

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

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

Famous Examples of Biographical Works

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

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

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

Difference Between Biography, Autobiography, and Memoir

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

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

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

Examples of Biography in Literature

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

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

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

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

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

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

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

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

Example 3:  Virginia Woolf  (Hermione Lee)

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

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

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How to Write a Biography Essay: A Comprehensive Guide

A biography essay is a powerful tool to reveal the essence of a person. It goes beyond mere facts, delving into the impact a person has had on the world. This comprehensive guide will walk you through the process of crafting a compelling biography essay that captures the spirit of the individual you're exploring.

Biography Essay Writing Guide

Writing a biography essay requires a thoughtful approach. It's not just about narrating a person's life but understanding their impact on the world. Follow these steps to create a meaningful and well-structured biography essay:

1. Choose a Compelling Topic

The first step is crucial. Select a person whose life and work resonate with you. Your passion will shine through in your writing, making the essay more engaging.

2. Research Thoroughly

Dive into the life of your chosen subject. Unearth interesting facts, anecdotes, and pivotal moments. A well-researched essay adds credibility and depth to your writing.

3. Craft an Engaging Introduction

Your introduction sets the tone for the entire essay. Create a captivating opening that introduces the person and sparks curiosity in the reader.

4. Develop a Chronological Narrative

Organize your essay chronologically to provide a coherent timeline of the person's life. Highlight significant events and their impact on the world.

5. Analyze Their Impact

Move beyond facts to analyze the person's impact. Discuss how their work, ideas, or actions shaped the world around them.

6. Conclude Reflectively

Conclude your essay by reflecting on the enduring legacy of the individual. Summarize their contributions and leave a lasting impression on the reader.

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When it comes to crafting a biography essay, EssayTigers brings you the best in custom paper writing. Our guides and expert writers ensure that your essay is not just informative but impactful.

Dos and Don'ts of Biography Essay Writing

• Choose a subject you are passionate about.
• Thoroughly research the person's life and contributions.
• Craft a compelling and engaging introduction.
• Organize the essay chronologically for clarity.
• Analyze the impact of the person on the world.
• Conclude with a reflective summary.
• Seek professional help from EssayTigers for custom paper writing.
• Choose a subject without sufficient historical or biographical material.
• Rely solely on one source of information.
• Start the essay with generic information.
• Present information in a disorganized manner.
• Neglect to analyze the person's broader impact.
• Rush the conclusion; take time to reflect thoughtfully.

Frequently Asked Questions (FAQs)

Q: how do i choose the right person for a biography essay.

A: Choose someone whose life and contributions align with your interests. Passion for the subject will enhance the quality of your writing.

Q: Is it necessary to include both positive and negative aspects?

A: While it's important to be objective, focus on presenting a balanced view rather than dwelling solely on negatives.

Q: Can I use the first person in a biography essay?

A: It's advisable to maintain a third-person perspective for a more formal and objective tone.

Final Thoughts

Writing a biography essay is a rewarding journey into the life of a remarkable individual. Through thorough research and thoughtful analysis, you can create an essay that not only informs but leaves a lasting impact on your readers. Trust EssayTigers for the best in custom paper writing to ensure your biography essay stands out.

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How to Write a Biography Essay and Get an A+

03 July, 2020

7 minutes read

Author:  Elizabeth Brown

Got a chance to write about your idol but need help with realization? Read our article to know the secrets of effective biography essay writing. Whoever you decide to write a biography essay about, don’t try to include random information at once. The person you describe would not like it. Instead, read our article about how to write a biography essay correctly and, more importantly, take pleasure in composing it. We’ll share some smart tips and tricks that you’ll find particularly useful for your writing.

What is a biographical essay?

Some tend to mistakenly attribute biographical essay to the process of writing about themselves. But actually, biography definition has nothing to do with you. It’s more about telling the engaging story about a person’s life. This individual can be anyone: a famous historical figure, a well-known actor, politician, dancer, musician, artist, writer, inventor – you get the point. Such task sounds intriguing and interesting, and indeed it is. A biographical essay is a great chance to dilute simple academic tasks with a pinch of new article full of interesting facts and opinions.

Biography essay outline

Before writing a biography essay, it’s important to pay attention to essay structure and build up a biography outline. An outline is generally a schematic plan that helps to organize biography essays in accordance with the writer’s preference. In this, the primary task is to create a list of the most significant facts you’ll want to develop in the essay. The easiest way of arranging an outline is to add a numbered list indicating the main points, and a list of sub-points marked with bullets. Also, don’t forget to include a biography thesis statement that’ll sum up the main idea of your essay in one sentence.

How to start a biography essay?

Before writing, you first need to understand what to include in a biography essay. An eloquent biography essay always starts with the introduction of a chosen person. The initial step of writing it involves the inclusion of such information as the person’s name, date of their birth, and the place they were born in. Of course, it’s not a uniform set of data necessary for this part. You can take the situation in your hands and write about some cultural or historical background surrounding one’s birthplace or the day they were born. Adding such information to the introductory part will help to create some context by connecting you and readers closer to the described character and broadening the common knowledge with more absorbing facts.

How to write a biography essay about someone else?

When people ask how to write a biography paper, the only thing they think of is a random flow of ideas about someone’s life. In fact, writing a biography paper is more complicated. The section following the introduction is devoted to life description. Here, you’ll need to feature early life and childhood of a chosen person. This part should cover general information about their parents, and divert readers’ attention to some facts related to their origin, education, and relationship status. Next, focus more on education and place where the person grew up. In this section, include more detailed information about the critical moments of their childhood life, like the name of the school they studied in or the point of moving to another city or town. Perhaps there are more facts worthy of note, such as family problems or health issues that revolved around one’s childhood. If there are such, include them as well.

The second section of your biographical essay will tell readers about someone’s adulthood. Depending on the person, this piece of story can be outlined differently. For example, you can write about their university or college life, or indicate their first job. The point here is to chronologically depict a period of moving from childhood to adult life. Then, talk about the formation of a person’s career path, starting with the first working experience and ending with the remarkable moment of revealing talents and skills that shaped their life. In the next paragraph, mention the person’s relationship during their adulthood. If applicable, describe how someone special helped them to become successful or motivated them throughout their career. Another significant aspect in this section has to do with the person’s success, in which readers could know about their notable accomplishments and achievements.

The final section of a biography essay will touch the person’s current or later life. If they are alive, include the overlook of their place of living and write about their activities. You can also add such information as to their current projects or career plans, along with other meaningful facts about their life.

If the person you’re writing about is no longer living, emphasize on the brightest moments at the sunset of their life. Mention the definitive moments and aspects, and write about the cause of their deaths.

Other tips on writing a biography

If you want your biography essay to leave a great impact on readers, don’t conclude it with a simple explanation of why this or that person died and what their latest works were. This is only factual information which brings no specific value to your essay and, more importantly, doesn’t breathe life into it. To wrap up your essay content with a memorable grabber, include a couple of sentences in which write about the person’s legacy. That is, add the opinion of why this individual’s activity became an exceptional contribution to the world’s history, and why they have changed some aspects of their field.

Biography essay writing is a responsible task that aims at showing a well-acclaimed person from the best light. Therefore, you need to write about one’s life as you would about your mother – with maximum details and showing respect for that person. So follow our advice to compose an A+ biography essay that you and your audience will enjoy reading.

Note that our company provides academic writing help. You can buy a Biography essay written from scratch by our  essay writer .

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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

⭐⭐⭐⭐⭐ (92 Reviews)

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

How to write an Autobiography

How to Write a Historical Recount Text

15 Awesome Recount & Personal Narrative Topics

Personal Narrative Writing Guide

How to Write a Biography

Learn how to write a biography with our comprehensive guide.

Last updated on Dec 8th, 2023

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Table of Contents

How to write a biography can be a fun challenge as you share someone’s life story with readers. You may need to write a biography for a class or decide to write a biography as a personal project. Once you’ve identified the subject of your biography, do your research to learn as much as you can about them. Then, immerse yourself in writing the biography and revising it until it’s best. What I am going to share with you in today’s post is how to write a biography. If you want to know the rules of how to write a biography correctly then this post of ours is essential for you. 

Introduction

While it’s true that most biographies involve people in the public eye, sometimes the subject is less well-known. But most of the time, famous or not, the person we’re talking about has an incredible life. Although your students may have a basic understanding of How to write a biography, you should take some time before putting pen to paper to come up with a very clear definition of biography.

Before knowing how to write a biography, let’s first understand what a biography is. A biography is an account of a person’s life written by someone else. Although there is a genre called fictional biography, by definition biographies are mostly non-fiction. In general, biographies trace the subject’s life from early childhood to the present day or until death if the subject is deceased. 

Biography writing is not limited to describing the bare facts of a person’s life. Instead of just listing basic details about their upbringing, interests, education, work, relationships, and deaths, a well-written biography should also paint a picture of a person’s personality as well as that person’s life experiences.

Tips and Tricks For How To Write a Biography

1. ask the subject’s permission to write a biography.

Here are the first tips on how to write a biography. Before starting your research, make sure you get your subject’s consent to write their biography. Ask them if they’re ready to be the subject. Getting their permission will make writing a biography much easier and ensure that they are open to information about their lives.

If the theme does not allow you to write a bio, you can choose another theme. If you decide to publish a profile without the subject’s permission, you may be subject to legal action from the subject. 

If the topic no longer exists, you don’t need to ask permission to write about them. 

2. Research primary sources on the topic

Primary sources may include books, letters, photographs, diaries, newspaper clippings, magazines, Internet articles, magazines, videos, interviews, existing biographies, or autobiographies on the subject. Find these resources in your local library or online. Read as much as you can about the topic and highlight any important information you come across in your sources. 

You can create research questions to help you focus your research on this topic, such as: 

What do I find interesting about this topic? Why is this topic important to readers? 

3. Conduct interviews with subjects and their relatives

Interviewing people will turn your research into reality: the people you interview will be able to tell you stories you can’t find in history books. Interview the subject as well as people close to them, such as spouses, friends, business associates, family members, co-workers, and friends. Interview in person, over the phone, or via email.

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

4. Visit places important to the topic

Whenever you want to know how to write a biography, to understand the history of the subject, spend time in places and areas that are significant to the subject. This may be the subject’s childhood home or neighborhood. You can also visit the subject’s workplace and regular meeting places. 

You may also want to visit areas where the subject made important decisions or breakthroughs in their life. Being physically present in the area can give you an idea of what your subjects may have felt and help you write about their experiences more effectively.

5. Research the time and place of the subject’s life

Contextualize your subject’s life by observing what’s going on around them. Consider the period in which they grew up as well as the history of the places they lived. Study the economics, politics, and culture of their time. See current events happening where they live or work.

When you studying how to write a biography, ask yourself about time and place: 

What were the social norms of this period? 

What happened economically and politically? 

How has the political and social environment influenced this topic?

6. Make a timeline of a person’s life

To help you organize your research, create a timeline of a person’s entire life, from birth. Draw a long line on a piece of paper and sketch out as many details about a person’s life as possible. Highlight important events or moments on the timeline. Include important dates, locations, and names. 

If you think about how to write a biography You can also include historical events or moments that affect the topic in the timeline. For example, a conflict or civil war may occur during a person’s lifetime and affect their life.

7. Focus on important events and milestones

Major events can include marriage, birth, or death during a person’s lifetime. They may also achieve milestones like their first successful business venture or their first civil rights march. Highlights key moments in a person’s life so readers clearly understand what’s important to that person and how they influence the world around them.

For example, you might focus on one person’s achievements in the civil rights movement. You could write an entire section about their contributions and participation in major civil rights marches in their hometowns.

8. Cite all sources used in  biography

Most biographies will include information from sources such as books, journal articles, magazines, and interviews. Remember to cite any sources that you directly quote or paraphrase. You can use citations, footnotes, or endnotes. If the biography is for a course, use MLA, APA, or Chicago Style citations according to your instructor’s preference.

9. Reread the biography

Check the biography for spelling, grammar, and punctuation. Circle all punctuation marks in the text to confirm they are correct. Read the text backward to check for spelling and grammar errors. 

Having a biography full of spelling, grammar, and punctuation errors can frustrate readers and lead to poor grades if you submit your work to the class.

10. Show your biography to others to get their feedback

It is a momentous step of how to write a biography. Once you have completed your draft biography, show it to your colleagues, friends, teachers, and mentors to get their feedback. Ask them if they have a good understanding of someone’s life and if the biography is easy to read. Be open to feedback so you can improve the biography and make it error-free. Revise profile based on feedback from others. Don’t be afraid to trim or edit your biography to suit your readers’ needs.

11. Use flashbacks

Flashbacks happen when you move from the present to the past. You can start with the present moment, and then bring in a scene from the person’s past. Or you could have one chapter focusing on the present and one focusing on the past, alternating as you go.

The flashback scene must be as detailed and realistic as the present-day scene. Use your research notes and interviews with subjects to better understand their past to reminisce. 

For example, you can move from a person’s death in the present to reminiscing about their favorite childhood memory.

12. Outline Your Story Chronologically 

This is another important step in how to write a biography is to write an outline that describes your story in chronological order. An outline is a tool that helps you visualize the structure and key elements of your story. This can help you organize your story into chapters and sections. 

You can write your plan in a digital document or draw it with pen and paper. Remember to store your outline in an easily accessible place so you can refer to it throughout the writing process.

What citation style should I use for my biography?

Use MLA, APA, or Chicago Style citations based on your instructor’s preference when citing sources in your biography.

Should I include personal opinions in a biography?

No, a biography should be objective and based on facts. Avoid injecting personal opinions or bias into the narrative.

What’s the difference between a biography and an autobiography?

A biography is written by someone else about a person’s life, while an autobiography is written by the subject themselves about their own life.

Can I write a biography about a living person?

Yes, you can write a biography about a living person with their consent. Ensure you respect their privacy and follow ethical guidelines when writing about them.

Conclusion 

Other than creating a sense of closure, there are no set rules about how a biography ends. An author may want to summarize their main points about the subject of their biography. If the person is still alive, the author can inform the reader about their condition or circumstances. If the person has died, inheritance can be discussed. Authors can also remind readers how they can learn from the biographical subject. Sharing a closing quote or about a person can leave the audience with a point to consider or discuss in more detail.

For further insights into writing and to avoid common mistakes, check out our article on Most Common Mistakes in Writing . Additionally, explore the Best Writing Tools for Writers to enhance your writing skills and discover the tools that can assist you. If you’re looking to improve your typing speed and accuracy, our article on How to Type Faster with Accuracy offers valuable tips.

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How to Write a Biography Essay

You have likely composed tens, if not hundreds, of essays of various varieties as a high school or college learner. However, a biographical essay is unlike anything else you may have ever authored. Even though it can seem simple, writing a biography essay can be pretty challenging for newbie writers.

Nevertheless, what constitutes a good biography essay? What is the process of composing a factual but engaging biography? If you have such questions, you are in the right place. Please keep scrolling and learn how to write a biography essay.

Before understanding how to compose a biography essay, you must first discover what it is. In a biographical paper, you describe the course of someone’s life. You strive to establish a picture of the person by providing details than just their background, occupation, and important dates. Your essay should discuss the person’s goals, achievements, values, and philosophy of life.

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That person might be a famous actor, politician, musician, author, or entrepreneur, among other historical figures. The purpose of the biographical essay is to describe the individual in question and their impact on society.

Also see: Personal essay vs autobiography essay 

Below is a guide containing some of the most vital steps to follow when writing a biography essay.

Identify the Subject and Scope of Your Essay

You need to choose your audience, consider your views, and, most importantly, consider a solid subject when getting ready to write your biography essay. You may believe that the simplest task is identifying a person to write about the cover. However, it is one of the most challenging parts of the composition process.

The subject for your biography essay will be the individual whose existence you will be detailing. You must choose an intriguing, significant, or eligible subject to be the focus of a biography essay if you want your article to be successful. Select a subject from which you can quickly learn a vast amount of information from books, articles, periodicals, newspapers, and personal interviews.

The ideal candidate is someone you are personally interested in. In this manner, you will be inspired to investigate more about their life story and write passionately about them. Ask yourself, why pick the individual, and what have they accomplished that ought to be documented and commemorated?

Remember, after picking a subject of your choice, you are a step closer to authoring an excellent biography essay. You are now ready to proceed to the next step.

Establish Authentic Sources and Conduct a Thorough Research

You should devote enough time to researching. Sufficient research is the basis of any well-written paper. Your essay will appear more competent the more references you consult. Therefore, endeavor to locate as many books and articles that discuss them to get a comprehensive vision of the person’s story.

Below is a list of key points to consider when conducting your research. They will help you identify the correct sources and study the right information.

• Do not wait until the last moment to commence your research; give yourself enough time.
• Assess the essay’s topic to help you determine which part of the essay you should concentrate your research on.
• List all information you currently know, pinpoint your information gap, and make a strategy of the information to study and improve on.
• Set some time to read the books on your reading list and research the literature for your essay.
• Contact your instructor or the library for help locating relevant sources, and utilize the index rather than reading the entire book.
• Use caution while using internet resources because they could not be dependable or competent in their academic standards.
• Prepare your findings, then create an opinion. After doing so, you can formulate your essay’s structure.

Create Your Essay’s Outline

It’s time to organize the facts you’ve gathered after doing your research to create a compelling story. Therefore, it’s critical to consider the essay structure and create its outline. Typically, an outline will serve as the conceptual framework for organizing your article. The main objective here is to list the essential points you wish to make in the essay.

Create a five-paragraph structure for your essay, with an introduction, at least two body paragraphs, and a conclusion. Keep your writing within the allotted word count. The easiest method is to write the facts chronologically, focusing on each rubric’s major life events.

Below is a possible outline of a basic five-paragraph biography essay outline that you could use.

• Introduction:  Identify your subject in the introduction and declare the thesis statement you will sustain in the body paragraphs.
• Body Paragraph I:  Create a topic sentence that advocates for the thesis, then use illustrations and facts to support it while describing how they relate to the thesis.
• Body paragraph II : Here, you could add a new aspect or rationale about the
• person’s life, bolster it, and establish the connection.
• Body paragraph III : This paragraph has a similar form as paragraph two. However, it ought to make a distinct point and explain it.
• Conclusion:  Here, you restate the thesis statement, and you might include a call to action at this point if you like.

After coming up with a suitable outline, you are ready to get into the actual writing.

Write Your Draft

Always remember that when writing a biography essay, you are at least partially attempting to convince the reader of the subject’s interest and the deservingness of them being in a standalone essay. Your writing style should reflect how passionate you are about the subject. After all, why should anybody else give importance if you find your subject boring?

Your choice of language should be academic yet still evocative. However, you should also pay attention to changing up your sentence structures, making wise word choices, and other writing strategies that will help you tell your subject’s existence in a way that is captivating and accurate to its significance.

Below is a guide on how to maneuver the draft, starting with your introduction, the body, and finally, the conclusion.

• The Introduction

The introduction, which serves as the essay’s opening paragraph, should immediately grab the reader’s interest. You could begin by using a famous phrase or proverb said by your subject. This quote ought to give readers a clear picture of them and help them grasp their personality type.

Another choice is to use a personal tale or short story. This perfect narrative or anecdote should be brief, clear, and convey a strong message about the subject. This will retain the essay’s audience’s attention.

Proceed with the introduction by providing details on the individual’s basic identity. This includes their name, birthdate, birthplace, and information about their education, marriage, and occupation. Keep these details strictly on an introductory level. Finally, establish a thesis statement which is a one-liner that encapsulates the subject’s inherent character. It serves as the blueprint for the remainder of the essay.

You put the material from your study in the body paragraphs. Here, you must stay true to your essay’s core premise, expressed in the thesis statement. Remember to describe their childhood to adulthood information in chronological order. Furthermore, include fascinating details such as what their relatives, friends, and coworkers thought of them and what sort of effect they left on others.

Use a chronology to explain their achievements and the effects they have had or are still having on modern society. Furthermore, include memories from their pasts that affected the actions they made afterward to retain the reader’s curiosity peaked.

Any significant incident that significantly altered the course of their lives should be recounted in the body. Similarly, it is vital to discuss topics like how they addressed challenges. Remember, the included information must accurately reflect the complexity of their existence.

The essay’s conclusion is where you present your findings on the subject. You need your essay to conclude strongly. Simply restating your thesis or the ideas you stated in your body paragraphs is insufficient. Instead, surpass that by connecting their legacy to the present.

• You could ask yourself the following questions;
• What kind of impact did they have on their specialized field?
• How does their work still hold up today?
• What is left behind?
• How do people remember them?
• What or who did they significantly influence?

Completing the draft is a great achievement in writing a biography essay. However, it is not the last step.

Conclude the Composition Process

After authoring your essay’s draft, there are some vital requirements that you should complete before you submit the essay. They include;

• Proofread and edit your work to correct any errors.
• Cite your references and create a reference list.
• Request feedback from colleagues or other professional writers.

After completing these steps, your biography essay should be ready for submission.

As mentioned earlier, composing an excellent biography essay is not a walk in the park. The task calls for the writer to have the necessary basic writing skills and, even more, a passion for their subject. This article has taken you through how to write a biography essay. Please utilize this information to help you write factual and captivating biography essays.

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How to write a biography essay

The complete guide on biographical storytelling

Anyone can learn how to write a perfect biography essay about someone else’s life by making sure to focus on true, objective facts about a specific person. First, determine the scope of the person’s life (years), pick a central theme, and write out the biography using the classic narrative arc.

Many college courses include an essay writing component, and a biography essay is one of the types of essays that you may encounter, especially if you are taking courses in liberal arts disciplines such as history or cultural studies. This guide from Ultius will provide you with a thorough overview of how to write an effective biography essay. The guide will include the following sections:

• purpose of a biography essay
• biography and culture
• elements of a good biography essay
• how to write a great biography essay
• samples/examples
• additional information

After reading this guide, you should feel confident in your ability to write a strong biography essay, or at least in your ability to find the right kind of help to write such an essay.

Purpose of a biography essay

"Biography" literally means the story of a life. So, when you write a biography essay, what you are trying to do is to write the story of someone's life. ( Autobiography is a related concept that refers to the story of your own life.) If your biography essay is successful, then by the end of reading it, the reader should have a clear idea of what your subject did in his/her life and why his/her life was interesting and/or important enough to be the subject of a biography essay.

According to the Ultius glossary, a biography is a detailed descriptions of a famous person’s life and accomplishments (as a genre). Biographies typically contain intricate details of the subject’s personal life and sometimes include an analysis of the person’s personality and attributes.

A biography essay is similar to other forms of essays, such as the narrative essay, insofar as it involves telling a story. A biography essay, however, is supposed to be rooted in historical fact, and it should describe your subject using objective tone and language.

Narrative essay how-to guide. Click here is you are interested in learning how to write a narrative essay instead.

There are two important things to remember about a biography essay.

1. It is a true story that describes the life of your subject. You are not allowed to just make things up, and there should be scholarly documentation confirming that what you are writing is valid.

2. It is a story about someone else, generally a famous historical figure . If you were writing about yourself, that would be a memoir, which for present purposes should be considered as different from a biographical essay.

Only use details and facts that can be verified through documents or existing sources. An important hallmark of biography essays is that they are true.

The importance of biography essays

The English writer Samuel Johnson had this to say about biographies:

"No species of writing seems more worthy of cultivation than biography, since none can be more delightful or more useful, none can more certainly enchain the heart by irresistible interest, or more widely diffuse instruction to every diversity of condition.”

The main idea here is that my reading biographies, people can gain insight into the lives of other people who have done amazing things. This can be enchanting in its own right, and it can also provide the reader with inspiration for his own life and help the reader look at his own life with fresh eyes.

Stuck with writing? Essay services from Ultius can help with biography writing.

For example, are you interested in doing philosophy? If so, you may find it inspiring to read biographies such as:

• Ludwig Wittgenstein: The Duty of Genius , by Ray Monk
• Albert Camus: A Life , by Olivier Todd
• Søren Kierkegaard: A Biography , by Joakim Garff

A nice thing about the genre of biography is also that biographies are written about a huge range of different figures in different disciplines, meaning that you can find biographical subject that may specifically interest you or move your heart.

Biography and culture

Biographies play an important role in preserving human cultural memory: it is like history, except focused on the life of one person. People have been telling stories about heroes and other admirable figures since the beginning of the human species.

Modern biography, though, is somewhat different from the old heroic stories, in that modern biography is supposed to be objective and scholarly, and it is generally rooted in a secular view of time and history. In other words, modern biographies are based in reason more than imagination, and they are not supposed to include magical and/or irrational events.

Biography vs. legend

Biography is a modern scholarly discipline that has some similarities to the much older genre of the legend, but it is also different in some important ways.

So, the genre of biography carries on the old tradition of telling stories about the lives of admirable figures. But whereas the old legends were more imaginative and quasi-fictional in their tellings, modern biography is supposed to be based on reason and objective, verifiable facts about the life of the subject.

Elements of a good biography essay

In order to write a compelling biography essay, there are certain elements that you will have to include. Here are some of them.

Linear narrative arc

This may seem somewhat obvious, but a human life naturally resembles a story, starting with birth and ending in death, with various drama and events happening in between. This is the natural arc that you should follow when writing your biography essay. In general, you should begin your essay with the birth of your historical figure and then follow him/her through the events of his/her life until death.

Some biography essays might be able to get with innovations such as non-linear structure, but unless you really know what you are doing, that can get very confusing, and your biography essay would be difficult to follow. So, for all intent and purpose, we can say that following a linear narrative arc is a best practice for writing a biography essay.

Different types of narrative structures

These are some of the possible types of narrative structure. When writing a biography essay, you are strongly advised to stick to the linear structure.

The linear structure is the standard for most biographies; it starts at a specific point in the protagonist's life and moves forward in chronological order. Nonlinear structure is more complex as this style moves between time periods with time skips and flashbacks. Thematic structure strategically conveys given and new information to frame and insert specific themes.

Choose a compelling biography essay subject

For your biography essay, your subject will be the person whose life story you will be writing. In order for your biography essay to be effective, you will have to pick a subject who is interesting, important, or otherwise qualified to be the subject of a biography essay. You should ask yourself the question: why choose your subject, and what has your subject done that deserves to be recorded and remembered?

Of course, there's a sense in which every single human life is interesting and important. But for the purposes of your biography essay, you will want to dig deeper and consider why your subject is worthy of being remembered in the collective cultural memory.

An effective biography usually focuses on someone who has affected history, or someone who has achieved a high level of excellence within his/her discipline or field.

Søren Kierkegaard: A very important philosopher

Kierkegaard would be an example a good subject for a biography essay, because his works are generally considered a turning point in modern philosophy.

The subject of your biography essay does not necessarily need to be well-known. In fact, it can be a lot of fun to dig into the life of someone is not well known but should be. The important thing is that your subject must be compelling, and there must be a solid reason why his/her story should be told.

Also, when picking a subject, you may want to make sure that you actually like your subject. That can make writing a biography essay more fun, and your respect for the subject (or lack thereof) will also probably come across in your writing. If you want to convince others that your subject is compelling, then it would help if you find him/her compelling.

Choose biographical (life) events wisely

A lot can happen in a life, and it would probably be impossible for you to include everything there is to know about your subject within a single biography essay. So, you should choose the high point, or the most important points, and then focus on those.

Events in the life of Kierkegaard

These are key events that could be the focus of a biography essay on Kierkegaard.

Garff, Joakim. Søren Kierkegaard: A Biography. Princeton: Princeton U P, 2007.

How to write a great biography essay

Now that you know about the elements of a biography essay, you can follow these steps in order to ensure that your biography essay turns out to be a success.

Next, integrate the specific biography related aspects listed below.

Determine the scope of your biographical essay

Again, your biography essay won't be able to include everything there is to know about your subject. So, you will want to map out the scope of your biography essay before you get started. The birth and death of your subject are the logical starting and ending points for your essay. Then, you will want to select a few events or accomplishments in the life of your subject that are worthy of remembrance.

You can develop a full-fledged outline, or you can use a table like the one developed above. Either way, though, you will have to have a clear idea of where you will begin, where you will end, and the path that you will take from the beginning to the end.

Compile credible sources

Your biography essay has to be rooted in verifiable facts about the life of your subject. This means that it is important that you identify and document the sources of your information. The essay sources should generally be scholarly in nature, and you should avoid using websites to the greatest extent possible. This is because it is often difficult to tell whether the content on websites have been drawn from credible sources.

Questions to ask when compiling sources

If there are references listed on a website about your subject, then you should trace those references back to the original academic sources. Those are the sources you should use for your biography essay.

Write in a clear and compelling style

Remember: with your biography essay, you are at least partly trying to show your reader why your subject is interesting and why he/she deserves to have an essay written about him/her.

Your interest in your subject should come across in your writing style. After all, if you feel bored with your subject, then why should anyone else pay attention?

The language you use should be scholarly (but still filled with imagery ), but you should also focus on varying sentence structure, using excellent word choice, and other writing techniques that tell the life story of your subject in a compelling way that does justice to the importance of your subject.

Samples/examples

See the example biographical essay below for a clear example of how it needs to be written.

As the sample shows, it’s very important to be focused on true details. Please see the list of blog posts below for more examples of biography essays:

• Biography essay on Hillary Clinton
• Biography essay on Frank Rosolino
• Short essay on Edgar Allan Poe

If you need more help or would like something written for your own needs, consider buying custom essays from Ultius . Our talented writes can help you get something done in as fast as three hours.

Additional information

That brings us to the close of this guide on the biography essay. Here is a recapitulation of some of the best practices that have been covered here.

Develop a focused arc

You should use a linear narrative structure, starting with the birth of your subject, ending with their death, and focusing on selected key events and accomplishments in the subject's life.

Write in the scholarly mode

Although a biography essay is a kind of "story," it should still be written in a rational, scholarly way, and referencing in MLA or Chicago style is usually required for this kind of essay.

Love your subject

If you get to choose your subject, then you should pick a subject that you personally admire. This will make the writing process more fun, and your interest will also show in your writing and make the biography essay more enjoyable for the reader.

Find help if you need it

Finally, Ultius has plenty of resources that can help you write a successful biography essay and hone your skills as a writer. Please feel free to lean on us.

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How to Start a Biography Essay : Structure Tips

December 27, 2023

A biography essay is a form of writing that aims to provide a comprehensive account of someone’s life. It goes beyond mere facts and dates, delving into the person’s experiences, influences, and impact on society. A well-written biography essay not only educates and informs but also captivates the reader with a compelling narrative.

In a biography essay, the writer must showcase their subject’s personal and professional achievements, struggles, and significant milestones. It requires thorough research and an understanding of the subject’s historical and cultural context. The essay should offer valuable insights into the individual’s character, motivations, and contributions to their field or community.

The definition of a biography essay sets the foundation for crafting an effective introduction that hooks the reader and entices them to continue reading. Understanding the purpose and scope of a biography essay is crucial in determining how to craft an engaging and impactful beginning to your essay.

Different types of biography essays

There are different types of biography essays, each with its own unique structure and approach. Understanding these variations can help you tailor your introduction accordingly. Here are some of the commonly recognized types of biography essays:

• Chronological Biography: This type of essay follows a chronological order, presenting events in the subject’s life in the order they occurred. It provides a comprehensive overview of the person’s life from birth to the present day.
• Thematic Biography: Thematic biographies focus on specific themes or aspects of the subject’s life. The essay may explore their contributions to a particular field, their personal growth and development, or their impact on society.
• Autobiography: An autobiography is a biography essay written by the subject themselves. This type offers a unique perspective, allowing readers to gain direct insights into the subject’s thoughts, experiences, and reflections.
• Biographical Narrative: In a biographical narrative, the essay takes on the form of a story, using narrative techniques to engage the reader. It typically includes vivid descriptions, dialogues, and scenes to bring the subject’s life to life on the page.

The different types of biography essays have varying structures. While chronological biographies may follow a strictly chronological order, thematic biographies may organize information based on themes or topics. Autobiographies may follow the subject’s own chosen structure, and biographical narratives may incorporate storytelling elements to enhance the narrative flow. Understanding the type of biography essay you are writing will guide you in shaping your introduction to align with the chosen structure and approach.

Structuring your introduction

Structuring your introduction effectively is crucial for a biography essay. It sets the tone, captures the reader’s attention, and provides a roadmap for the rest of the essay. Here are some tips for structuring your introduction:

• Start with a hook: Begin with a compelling hook that grabs the reader’s attention. It can be an intriguing fact, a thought-provoking quote, a vivid anecdote, or a surprising statistic related to your subject’s life.
• Provide background information: After the hook, provide some context and background information about the subject. This can include their name, profession, historical period, or any relevant details that help situate the reader.
• Mention the significance: Highlight why this person’s life is worth exploring. Discuss their impact on society, their contributions to their field, or the reasons why they are renowned or influential.
• Craft a clear and concise thesis statement: Your thesis statement should succinctly state the main purpose or argument of your essay. It could be a claim about the person’s achievements, their lasting legacy, or the overarching theme you will explore in the essay.

By following this structure, you can provide an engaging and informative introduction that captures the reader’s interest and sets the stage for the rest of your biography essay.

What is a hook and why it’s important

A hook is the opening line or sentence in your introduction that serves to grab the reader’s attention and make them want to continue reading. It is a captivating and compelling element that sets the tone for the entire essay. The hook can take various forms, such as an intriguing fact, a compelling quote, a startling statistic, or a captivating anecdote related to the subject of your biography essay.

The importance of a hook in a biography essay cannot be overstated. It is your opportunity to make a strong first impression and pique the reader’s curiosity. A well-crafted hook creates interest and establishes a connection with the reader, motivating them to delve deeper into your essay. It helps you stand out from the start and sets the stage for the rest of your writing. By grabbing the reader’s attention with a compelling hook, you increase the chances of them staying engaged and invested in your biography essay.

Different types of hooks

When starting a biography essay, there are several types of hooks you can use to captivate your reader’s attention. Here are some examples:

• Anecdote: Begin with a short, intriguing story or anecdote related to the subject’s life that grabs the reader’s interest.
• Quotation: Start with a powerful or thought-provoking quote from the individual or someone who knew them, highlighting an important aspect of their life or character.
• Surprising fact/statistic: Present a surprising or lesser-known fact or statistic about the person that immediately grabs the reader’s attention and makes them curious to learn more.
• Vivid description: Paint a vivid picture by using descriptive language to set the scene or evoke emotions, bringing the reader into the world of your subject.
• Question: Pose a compelling question directly to the reader, inviting them to think about the significance of the subject’s life or an intriguing aspect of their story.
• Startling statement: Begin with a bold or controversial statement that challenges common beliefs or assumptions about the person, sparking the reader’s interest.

Choosing the right hook depends on the tone, subject matter, and purpose of your biography essay. Experiment with different types of hooks to find one that effectively grabs your reader’s attention and sets the stage for the engaging journey that lies ahead.

Biography essay hook example

“Behind every great mind lies a story of struggle, resilience, and triumph. In the case of Albert Einstein, his journey from a curious child with wild hair to a brilliant physicist who reshaped our understanding of the universe was nothing short of extraordinary. Picture a young Einstein sitting alone under a tree, contemplating the mysteries of space and time, unaware of the profound impact his ideas would have on the world. Embark on a captivating journey through the life of this iconic genius as we unravel the enigmatic persona and groundbreaking contributions that made Albert Einstein a legend in the realm of science.”

This hook blends vivid imagery with a sense of mystery and excitement. It introduces the subject, Albert Einstein, by highlighting his childhood curiosity and foreshadowing his extraordinary achievements in the field of physics. It captures the reader’s attention and creates a desire to learn more about the life and accomplishments of this renowned figure.

Background information

Providing background information in a biography essay is crucial for contextualizing the subject’s life and creating a comprehensive understanding for the reader. It sets the stage by offering the necessary historical, cultural, or social context that influenced the individual’s journey and achievements.

Background information may include details such as the time period in which the person lived, significant events that shaped their era, prevailing societal norms or challenges they faced, and any relevant historical or cultural influences. This information helps the reader grasp the broader context in which the subject’s life unfolded and enables them to appreciate the significance of their accomplishments.

Additionally, background information can include details about the subject’s early life, education, family, or any key experiences that laid the foundation for their future endeavors. By establishing this framework, the biography essay becomes more engaging and informative, providing a solid background that supports the subsequent exploration of the individual’s life and impact.

Mention the significance

Highlighting the significance of the subject in a biography essay helps emphasize their impact and why their life story is worth exploring. By acknowledging their importance, you can capture the reader’s interest and establish the relevance of the biography.

Mentioning the significance can be done by discussing their contributions, achievements, or the influence they had on their field or society. It is important to convey why their story matters and how it connects to broader themes or historical events. Whether it’s groundbreaking discoveries, overcoming adversity, or inspiring social change, the significance of the subject’s life should be articulated to demonstrate their lasting legacy.

By showcasing their significance, the biography essay becomes more than just a narrative of an individual’s life; it becomes a testament to the lasting impact they made, inspiring and enlightening readers about their endeavors and the mark they left on the world.

Crafting a Strong Thesis Statement

Crafting a strong thesis statement is essential in a biography essay as it serves as the guiding force for the entire piece. A well-crafted thesis statement not only conveys the main focus of the essay but also establishes the unique angle or perspective through which the subject’s life will be examined.

To create a strong thesis statement for a biography essay, consider the following tips and elements:

• Identify the main focus: Determine the central aspect or theme of the subject’s life that you want to explore in the essay. It could be their accomplishments, struggles, personal growth, or impact on society.
• Be specific: Avoid vague statements and strive for precision. Clearly articulate what makes the subject’s life noteworthy, significant, or compelling.
• Make it arguable: A strong thesis statement presents a debatable claim or argument that can be supported and explored in the essay. It should provoke thought and invite discussion.
• Consider the scope: Consider the length of the essay and the depth to which you can delve into the subject’s life. Ensure that your thesis statement is manageable and achievable within the given parameters.

Example thesis statement for a biography essay on Rosa Parks:

“Despite her quiet demeanor, Rosa Parks’ courageous refusal to give up her bus seat in Montgomery, Alabama, 1955, acted as a catalyst for the Civil Rights Movement, challenging racial segregation and inspiring a generation to fight for equality.”

This thesis statement is specific, arguable, and clearly highlights the significance of Rosa Parks’ action as a pivotal moment in history. It sets the stage for an essay that will explore her life, the societal impact of her act of defiance, and her contribution to the struggle for civil rights.

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Biographies: The Stories of Humanity

• An Introduction to Punctuation
• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

A biography is a story of a person's life, written by another author. The writer of a biography is called a biographer while the person written about is known as the subject or biographee.

Biographies usually take the form of a narrative , proceeding chronologically through the stages of a person's life. American author Cynthia Ozick notes in her essay "Justice (Again) to Edith Wharton" that a good biography is like a novel, wherein it believes in the idea of a life as "a triumphal or tragic story with a shape, a story that begins at birth, moves on to a middle part, and ends with the death of the protagonist."

A biographical essay is a comparatively short work of nonfiction  about certain aspects of a person's life. By necessity, this sort of essay  is much more selective than a full-length biography, usually focusing only on key experiences and events in the subject's life.

Between History and Fiction

Perhaps because of this novel-like form, biographies fit squarely between written history and fiction, wherein the author often uses personal flairs and must invent details "filling in the gaps" of the story of a person's life that can't be gleaned from first-hand or available documentation like home movies, photographs, and written accounts.

Some critics of the form argue it does a disservice to both history and fiction, going so far as to call them "unwanted offspring, which has brought a great embarrassment to them both," as Michael Holroyd puts it in his book "Works on Paper: The Craft of Biography and Autobiography." Nabokov even called biographers "psycho-plagiarists," meaning that they steal the psychology of a person and transcribe it to the written form.

Biographies are distinct from creative non-fiction such as memoir in that biographies are specifically about one person's full life story -- from birth to death -- while creative non-fiction is allowed to focus on a variety of subjects, or in the case of memoirs certain aspects of an individual's life.

Writing a Biography

For writers who want to pen another person's life story, there are a few ways to spot potential weaknesses, starting with making sure proper and ample research has been conducted -- pulling resources such as newspaper clippings, other academic publications, and recovered documents and found footage.  

First and foremost, it is the duty of biographers to avoid misrepresenting the subject as well as acknowledging the research sources they used. Writers should, therefore, avoid presenting a personal bias for or against the subject as being objective is key to conveying the person's life story in full detail.

Perhaps because of this, John F. Parker observes in his essay "Writing: Process to Product" that some people find writing a biographical essay "easier than writing an  autobiographical  essay. Often it takes less effort to write about others than to reveal ourselves." In other words, in order to tell the full story, even the bad decisions and scandals have to make the page in order to truly be authentic.

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What Is Biography? Definition, Usage, and Literary Examples

Biography definition.

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

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

The History of Biographies

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

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

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

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

Types of Biographies

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

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

Biographies and Filmed Entertainment

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

Documentary

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

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

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

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

Semi-fictionalized account

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

The Functions of Biography

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

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

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

Writers Known for Biographies

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

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

Examples of Biographies

1. James Boswell,  The Life of Samuel Johnson

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

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

2. Sylvia Nasar,  A Beautiful Mind

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

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

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

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

4. Megan Mayhew Bergman,  Almost Famous Women

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

Further Resources on Biography

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

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

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

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

Ranker  collected  a comprehensive list of famous biographers .

Related Terms

• Autobiography
• Short Story

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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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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What Is a Biographical Essay?

A biographical essay is a written composition describing the life and times of a particular individual. In general there are two primary types. The first is an academic report or essay used to paint a picture of a historical figure or person of some importance to the writer. This sort of paper is usually structured somewhat rigidly, often with fixed introduction, body, and conclusion paragraphs. Colleges, universities, and certain grants associated with higher education also sometimes ask for biographical essays as part of their application materials, and these sorts of compositions are usually a lot different in that schools are usually asking applicants to write about themselves . Furthermore, rather than trying to present a complete composite of their lives to date, most writers in these contexts focus on certain defining moments and experiences. The structure is often looser and less academic.

Core Components

Both types of essay have a few things in common. They’re both focused on a specific person, for instance, and can and often do weave in details that define that person’s context. This can include things like family relationships and geographical settings. Additionally, both usually have a singular point they’re trying to make. Even though the structure varies, organization is important. In academic papers, the writer’s main point is usually captured in what’s known as a “ thesis statement .” This statement makes a specific claim that the rest of the paper will be used to support. Self-portraits and personal statements don’t necessarily need a defined thesis statement, but writers who organize their thoughts around a central argument usually find that their compositions are more coherent and successful as a result.

Analyzing Figures from the Past

In an academic essay , the thesis might link certain key events in a subject's life to his subsequent actions, and by so doing offer an explanation of his or her motives. It might also simply describe how the subject lived his or her life, and the effects that he or she had on the world. Generally speaking, the thesis of this sort of essay ties the various stories and facts together and places them in a single, meaningful context.

This type of essay is generally no more than a few pages long and cannot, therefore, adequately cover all of the events in a person’s life. By selecting the events to include in an essay, writers usually emphasizes certain aspects of the subject’s life.

The Importance of Context

In nearly all cases, biographical-style essays in academic settings can be seen as written histories of the times in which the subject lived, and this history needs to provide some context for the essay. An essay on the life of Franklin Delano Roosevelt that failed to at least briefly discuss the history of the Depression, for instance, would be difficult to understand. In the same way, a personal essay should include key historical events or relationships that were important in the author’s life, but this should be done in an objective and balanced way.

Accuracy can be impacted by words as much as implications. For example, a biographical essay of Lenin that focuses on the execution of his brother by the government might read like a tale of revenge, while an essay discussing the life of Winston Churchill that ends before he was replaced as prime minister will read very differently from one that covers his entire life and career.

Goals of a Self-Portrait

One of the most common objectives of an autobiographical essay is to secure admission to a university or to obtain a scholarship. The essay should include elements that speak to an applicant’s character and personality. Personal hardships that have been overcome, admirable life goals, or a discussion of the role played by an inspiring mentor are common subjects for this type of writing. Interests and academics will generally be covered in other parts of the application and as such will not usually be the focus of this type of biographical essay, though this does vary from place to place. It’s important for writers to pay close attention to the instructions provided in order to submit a successful piece.

An autobiographical essay follows many of the same rules as an essay written about another person’s life. This type of essay should still contain a central thesis or theme, an appropriate level of personal detail, and a discussion of any other topics relevant to the specific position or posting. Writers should also be careful to stay on topic. An essay asking for admission to a religious institution, for example, should probably address issues of faith, but one included in an application for a physics grant probably should not.

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Discussion Comments

Post your comments.

• By: AlexOakenman An autobiographical essay follows many of the same rules as an essay written about another person’s life.
• A biographical essay should include important historical events, for example, an essay about FDR must include discussion of the Depression.
• By: serkucher Brainstorming with pen and paper may be helpful for writers preparing to create a biographical essay.

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Definition of essay

 (Entry 1 of 2)

Definition of essay  (Entry 2 of 2)

transitive verb

• composition

attempt , try , endeavor , essay , strive mean to make an effort to accomplish an end.

attempt stresses the initiation or beginning of an effort.

try is often close to attempt but may stress effort or experiment made in the hope of testing or proving something.

endeavor heightens the implications of exertion and difficulty.

essay implies difficulty but also suggests tentative trying or experimenting.

strive implies great exertion against great difficulty and specifically suggests persistent effort.

Examples of essay in a Sentence

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

Word History

Middle French essai , ultimately from Late Latin exagium act of weighing, from Latin ex- + agere to drive — more at agent

14th century, in the meaning defined at sense 4

14th century, in the meaning defined at sense 2

Phrases Containing essay

• essay question
• photo - essay

Articles Related to essay

To 'Essay' or 'Assay'?

You'll know the difference if you give it the old college essay

Dictionary Entries Near essay

Cite this entry.

“Essay.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/essay. Accessed 14 May. 2024.

Kids Definition

Kids definition of essay.

Kids Definition of essay  (Entry 2 of 2)

More from Merriam-Webster on essay

Nglish: Translation of essay for Spanish Speakers

Britannica English: Translation of essay for Arabic Speakers

Britannica.com: Encyclopedia article about essay

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