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How to Write a Memoir: Examples and a Step-by-Step Guide

Zining Mok  |  January 29, 2024  |  25 Comments

If you’ve thought about putting your life to the page, you may have wondered how to write a memoir. We start the road to writing a memoir when we realize that a story in our lives demands to be told. As Maya Angelou once wrote, “There is no greater agony than bearing an untold story inside you.”

How to write a memoir? At first glance, it looks easy enough—easier, in any case, than writing fiction. After all, there is no need to make up a story or characters, and the protagonist is none other than you.

Still, memoir writing carries its own unique challenges, as well as unique possibilities that only come from telling your own true story. Let’s dive into how to write a memoir by looking closely at the craft of memoir writing, starting with a key question: exactly what is a memoir?

How to Write a Memoir: Contents

What is a Memoir?

• Memoir vs Autobiography

Memoir Examples

Short memoir examples.

• How to Write a Memoir: A Step-by-Step Guide

A memoir is a branch of creative nonfiction , a genre defined by the writer Lee Gutkind as “true stories, well told.” The etymology of the word “memoir,” which comes to us from the French, tells us of the human urge to put experience to paper, to remember. Indeed, a memoir is “ something written to be kept in mind .”

A memoir is defined by Lee Gutkind as “true stories, well told.”

For a piece of writing to be called a memoir, it has to be:

• Nonfictional
• Based on the raw material of your life and your memories
• Written from your personal perspective

At this point, memoirs are beginning to sound an awful lot like autobiographies. However, a quick comparison of Elizabeth Gilbert’s Eat, Pray, Love , and The Autobiography of Benjamin Franklin , for example, tells us that memoirs and autobiographies could not be more distinct.

Next, let’s look at the characteristics of a memoir and what sets memoirs and autobiographies apart. Discussing memoir vs. autobiography will not only reveal crucial insights into the process of writing a memoir, but also help us to refine our answer to the question, “What is a memoir?”

Memoir vs. Autobiography

While both use personal life as writing material, there are five key differences between memoir and autobiography:

1. Structure

Since autobiographies tell the comprehensive story of one’s life, they are more or less chronological. writing a memoir, however, involves carefully curating a list of personal experiences to serve a larger idea or story, such as grief, coming-of-age, and self-discovery. As such, memoirs do not have to unfold in chronological order.

While autobiographies attempt to provide a comprehensive account, memoirs focus only on specific periods in the writer’s life. The difference between autobiographies and memoirs can be likened to that between a CV and a one-page resume, which includes only select experiences.

The difference between autobiographies and memoirs can be likened to that between a CV and a one-page resume, which includes only select experiences.

Autobiographies prioritize events; memoirs prioritize the writer’s personal experience of those events. Experience includes not just the event you might have undergone, but also your feelings, thoughts, and reflections. Memoir’s insistence on experience allows the writer to go beyond the expectations of formal writing. This means that memoirists can also use fiction-writing techniques , such as scene-setting and dialogue , to capture their stories with flair.

4. Philosophy

Another key difference between the two genres stems from the autobiography’s emphasis on facts and the memoir’s reliance on memory. Due to memory’s unreliability, memoirs ask the reader to focus less on facts and more on emotional truth. In addition, memoir writers often work the fallibility of memory into the narrative itself by directly questioning the accuracy of their own memories.

Memoirs ask the reader to focus less on facts and more on emotional truth.

5. Audience

While readers pick up autobiographies to learn about prominent individuals, they read memoirs to experience a story built around specific themes . Memoirs, as such, tend to be more relatable, personal, and intimate. Really, what this means is that memoirs can be written by anybody!

Ready to be inspired yet? Let’s now turn to some memoir examples that have received widespread recognition and captured our imaginations!

If you’re looking to lose yourself in a book, the following memoir examples are great places to begin:

• The Year of Magical Thinking , which chronicles Joan Didion’s year of mourning her husband’s death, is certainly one of the most powerful books on grief. Written in two short months, Didion’s prose is urgent yet lucid, compelling from the first page to the last. A few years later, the writer would publish Blue Nights , another devastating account of grief, only this time she would be mourning her daughter.
• Patti Smith’s Just Kids is a classic coming-of-age memoir that follows the author’s move to New York and her romance and friendship with the artist Robert Maplethorpe. In its pages, Smith captures the energy of downtown New York in the late sixties and seventies effortlessly.
• When Breath Becomes Air begins when Paul Kalanithi, a young neurosurgeon, is diagnosed with terminal cancer. Exquisite and poignant, this memoir grapples with some of the most difficult human experiences, including fatherhood, mortality, and the search for meaning.
• A memoir of relationship abuse, Carmen Maria Machado’s In the Dream House is candid and innovative in form. Machado writes about thorny and turbulent subjects with clarity, even wit. While intensely personal, In the Dream House is also one of most insightful pieces of cultural criticism.
• Twenty-five years after leaving for Canada, Michael Ondaatje returns to his native Sri Lanka to sort out his family’s past. The result is Running in the Family , the writer’s dazzling attempt to reconstruct fragments of experiences and family legends into a portrait of his parents’ and grandparents’ lives. (Importantly, Running in the Family was sold to readers as a fictional memoir; its explicit acknowledgement of fictionalization prevented it from encountering the kind of backlash that James Frey would receive for fabricating key facts in A Million Little Pieces , which he had sold as a memoir . )
• Of the many memoirs published in recent years, Tara Westover’s Educated is perhaps one of the most internationally-recognized. A story about the struggle for self-determination, Educated recounts the writer’s childhood in a survivalist family and her subsequent attempts to make a life for herself. All in all, powerful, thought-provoking, and near impossible to put down.

While book-length memoirs are engaging reads, the prospect of writing a whole book can be intimidating. Fortunately, there are plenty of short, essay-length memoir examples that are just as compelling.

While memoirists often write book-length works, you might also consider writing a memoir that’s essay-length. Here are some short memoir examples that tell complete, lived stories, in far fewer words:

• “ The Book of My Life ” offers a portrait of a professor that the writer, Aleksandar Hemon, once had as a child in communist Sarajevo. This memoir was collected into Hemon’s The Book of My Lives , a collection of essays about the writer’s personal history in wartime Yugoslavia and subsequent move to the US.
• “The first time I cheated on my husband, my mother had been dead for exactly one week.” So begins Cheryl Strayed’s “ The Love of My Life ,” an essay that the writer eventually expanded into the best-selling memoir, Wild: From Lost to Found on the Pacific Crest Trail .
• In “ What We Hunger For ,” Roxane Gay weaves personal experience and a discussion of The Hunger Games into a powerful meditation on strength, trauma, and hope. “What We Hunger For” can also be found in Gay’s essay collection, Bad Feminist .
• A humorous memoir structured around David Sedaris and his family’s memories of pets, “ The Youth in Asia ” is ultimately a story about grief, mortality and loss. This essay is excerpted from the memoir Me Talk Pretty One Day , and a recorded version can be found here .

So far, we’ve 1) answered the question “What is a memoir?” 2) discussed differences between memoirs vs. autobiographies, 3) taken a closer look at book- and essay-length memoir examples. Next, we’ll turn the question of how to write a memoir.

How to Write a Memoir: A-Step-by-Step Guide

1. how to write a memoir: generate memoir ideas.

how to start a memoir? As with anything, starting is the hardest. If you’ve yet to decide what to write about, check out the “ I Remember ” writing prompt. Inspired by Joe Brainard’s memoir I Remember , this prompt is a great way to generate a list of memories. From there, choose one memory that feels the most emotionally charged and begin writing your memoir. It’s that simple! If you’re in need of more prompts, our Facebook group is also a great resource.

2. How to Write a Memoir: Begin drafting

My most effective advice is to resist the urge to start from “the beginning.” Instead, begin with the event that you can’t stop thinking about, or with the detail that, for some reason, just sticks. The key to drafting is gaining momentum . Beginning with an emotionally charged event or detail gives us the drive we need to start writing.

3. How to Write a Memoir: Aim for a “ shitty first draft ”

Now that you have momentum, maintain it. Attempting to perfect your language as you draft makes it difficult to maintain our impulses to write. It can also create self-doubt and writers’ block. Remember that most, if not all, writers, no matter how famous, write shitty first drafts.

Attempting to perfect your language as you draft makes it difficult to maintain our impulses to write.

4. How to Write a Memoir: Set your draft aside

Once you have a first draft, set it aside and fight the urge to read it for at least a week. Stephen King recommends sticking first drafts in your drawer for at least six weeks. This period allows writers to develop the critical distance we need to revise and edit the draft that we’ve worked so hard to write.

5. How to Write a Memoir: Reread your draft

While reading your draft, note what works and what doesn’t, then make a revision plan. While rereading, ask yourself:

• What’s underdeveloped, and what’s superfluous.
• Does the structure work?
• What story are you telling?

6. How to Write a Memoir: Revise your memoir and repeat steps 4 & 5 until satisfied

Every piece of good writing is the product of a series of rigorous revisions. Depending on what kind of writer you are and how you define a draft,” you may need three, seven, or perhaps even ten drafts. There’s no “magic number” of drafts to aim for, so trust your intuition. Many writers say that a story is never, truly done; there only comes a point when they’re finished with it. If you find yourself stuck in the revision process, get a fresh pair of eyes to look at your writing.

7. How to Write a Memoir: Edit, edit, edit!

Once you’re satisfied with the story, begin to edit the finer things (e.g. language, metaphor , and details). Clean up your word choice and omit needless words , and check to make sure you haven’t made any of these common writing mistakes . Be sure to also know the difference between revising and editing —you’ll be doing both. Then, once your memoir is ready, send it out !

Learn How to Write a Memoir at Writers.com

Writing a memoir for the first time can be intimidating. But, keep in mind that anyone can learn how to write a memoir. Trust the value of your own experiences: it’s not about the stories you tell, but how you tell them. Most importantly, don’t give up!

Anyone can learn how to write a memoir.

If you’re looking for additional feedback, as well as additional instruction on how to write a memoir, check out our schedule of nonfiction classes . Now, get started writing your memoir!

25 Comments

Thank you for this website. It’s very engaging. I have been writing a memoir for over three years, somewhat haphazardly, based on the first half of my life and its encounters with ignorance (religious restrictions, alcohol, and inability to reach out for help). Three cities were involved: Boston as a youngster growing up and going to college, then Washington DC and Chicago North Shore as a married woman with four children. I am satisfied with some chapters and not with others. Editing exposes repetition and hopefully discards boring excess. Reaching for something better is always worth the struggle. I am 90, continue to be a recital pianist, a portrait painter, and a writer. Hubby has been dead for nine years. Together we lept a few of life’s chasms and I still miss him. But so far, my occupations keep my brain working fairly well, especially since I don’t smoke or drink (for the past 50 years).

Hi Mary Ellen,

It sounds like a fantastic life for a memoir! Thank you for sharing, and best of luck finishing your book. Let us know when it’s published!

Best, The writers.com Team

Hello Mary Ellen,

I am contacting you because your last name (Lavelle) is my middle name!

Being interested in genealogy I have learned that this was my great grandfathers wife’s name (Mary Lavelle), and that her family emigrated here about 1850 from County Mayo, Ireland. That is also where my fathers family came from.

Is your family background similar?

Hope to hear back from you.

Richard Lavelle Bourke

Hi Mary Ellen: Have you finished your memoir yet? I just came across your post and am seriously impressed that you are still writing. I discovered it again at age 77 and don’t know what I would do with myself if I couldn’t write. All the best to you!! Sharon [email protected]

I am up to my eyeballs with a research project and report for a non-profit. And some paid research for an international organization. But as today is my 90th birthday, it is time to retire and write a memoir.

So I would like to join a list to keep track of future courses related to memoir / creative non-fiction writing.

Hi Frederick,

Happy birthday! And happy retirement as well. I’ve added your name and email to our reminder list for memoir courses–when we post one on our calendar, we’ll send you an email.

We’ll be posting more memoir courses in the near future, likely for the months of January and February 2022. We hope to see you in one!

Very interesting and informative, I am writing memoirs from my long often adventurous and well travelled life, have had one very short story published. Your advice on several topics will be extremely helpful. I write under my schoolboy nickname Barnaby Rudge.

[…] How to Write a Memoir: Examples and a Step-by-Step Guide […]

I am writing my memoir from my memory when I was 5 years old and now having left my birthplace I left after graduation as a doctor I moved to UK where I have been living. In between I have spent 1 year in Canada during my training year as paediatrician. I also spent nearly 2 years with British Army in the hospital as paediatrician in Germany. I moved back to UK to work as specialist paediatrician in a very busy general hospital outside London for the next 22 years. Then I retired from NHS in 2012. I worked another 5 years in Canada until 2018. I am fully retired now

I have the whole convoluted story of my loss and horrid aftermath in my head (and heart) but have no clue WHERE, in my story to begin. In the middle of the tragedy? What led up to it? Where my life is now, post-loss, and then write back and forth? Any suggestions?

My friend Laura who referred me to this site said “Start”! I say to you “Start”!

Hi Dee, that has been a challenge for me.i dont know where to start?

What was the most painful? Embarrassing? Delicious? Unexpected? Who helped you? Who hurt you? Pick one story and let that lead you to others.

I really enjoyed this writing about memoir. I ve just finished my own about my journey out of my city then out of my country to Egypt to study, Never Say Can’t, God Can Do It. Infact memoir writing helps to live the life you are writing about again and to appreciate good people you came across during the journey. Many thanks for sharing what memoir is about.

I am a survivor of gun violence, having witnessed my adult son being shot 13 times by police in 2014. I have struggled with writing my memoir because I have a grandson who was 18-months old at the time of the tragedy and was also present, as was his biological mother and other family members. We all struggle with PTSD because of this atrocity. My grandson’s biological mother was instrumental in what happened and I am struggling to write the story in such a way as to not cast blame – thus my dilemma in writing the memoir. My grandson was later adopted by a local family in an open adoption and is still a big part of my life. I have considered just writing it and waiting until my grandson is old enough to understand all the family dynamics that were involved. Any advice on how I might handle this challenge in writing would be much appreciated.

I decided to use a ghost writer, and I’m only part way in the process and it’s worth every penny!

Hi. I am 44 years old and have had a roller coaster life .. right as a young kid seeing his father struggle to financial hassles, facing legal battles at a young age and then health issues leading to a recent kidney transplant. I have been working on writing a memoir sharing my life story and titled it “A memoir of growth and gratitude” Is it a good idea to write a memoir and share my story with the world?

Thank you… this was very helpful. I’m writing about the troubling issues of my mental health, and how my life was seriously impacted by that. I am 68 years old.

[…] Writers.com: How to Write a Memoir […]

[…] Writers.com: “How to Write a Memoir” […]

I am so grateful that I found this site! I am inspired and encouraged to start my memoir because of the site’s content and the brave people that have posted in the comments.

Finding this site is going into my gratitude journey 🙂

We’re grateful you found us too, Nichol! 🙂

Firstly, I would like to thank you for all the info pertaining to memoirs. I believe am on the right track, am at the editing stage and really have to use an extra pair of eyes. I’m more motivated now to push it out and complete it. Thanks for the tips it was very helpful, I have a little more confidence it seeing the completion.

Well, I’m super excited to begin my memoir. It’s hard trying to rely on memories alone, but I’m going to give it a shot!

Thanks to everyone who posted comments, all of which have inspired me to get on it.

Best of luck to everyone! Jody V.

I was thrilled to find this material on How to Write A Memoir. When I briefly told someone about some of my past experiences and how I came to the United States in the company of my younger brother in a program with a curious name, I was encouraged by that person and others to write my life history.

Based on the name of that curious program through which our parents sent us to the United States so we could leave the place of our birth, and be away from potentially difficult situations in our country.

As I began to write my history I took as much time as possible to describe all the different steps that were taken. At this time – I have been working on this project for 5 years and am still moving ahead. The information I received through your material has further encouraged me to move along. I am very pleased to have found this important material. Thank you!

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The New York Times

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

By THE NEW YORK TIMES JUNE 26, 2019

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

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

Fierce Attachments

Vivian gornick, farrar, straus & giroux, 1987.

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

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

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

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

Buy this book

The Woman Warrior

Maxine hong kingston, alfred a. knopf, 1976.

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

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

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

Alison Bechdel

Houghton mifflin harcourt, 2006.

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

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

The Liars’ Club

Viking, 1995.

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

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

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

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

—Mary Karr, “The Liar’s Club”

Christopher Hitchens

Twelve, 2010.

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

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

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

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

Men We Reaped

Jesmyn ward, bloomsbury, 2013.

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

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

Random House, 1995

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

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

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

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

Giving Up the Ghost

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

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

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

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

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

—Hilary Mantel, “Giving Up the Ghost”

A Childhood

Harry crews, harper & row, 1978.

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

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

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

Dreams From My Father

Barack obama, times books/random house, 1995.

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

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

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

Philip Roth

Simon & schuster, 1991.

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

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

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

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

—Philip Roth, “Patrimony”

All God’s Dangers: The Life of Nate Shaw

Theodore rosengarten, alfred a. knopf, 1974.

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

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

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

Lives Other Than My Own

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

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

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

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

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

A Tale of Love and Darkness

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

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

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

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

This Boy’s Life

Tobias wolff, the atlantic monthly press, 1989.

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

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

A Life’s Work

Rachel cusk, picador, 2002.

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

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

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

J.M. Coetzee

Viking, 1997.

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

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

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

Harcourt Brace Jovanovich, 1974

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

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

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

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

—Jan Morris, “Conundrum”

Sonali Deraniyagala

Alfred a. knopf, 2013.

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

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

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

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

Clive james, picador, 2004.

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

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

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

Travels With Lizbeth

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

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

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

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

—Lars Eighner, “Travels With Lizbeth”

Little, Brown & Company, 2015

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

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

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

Country Girl

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

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

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

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

Pantheon, 2003.

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

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

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

Margo Jefferson

Pantheon, 2015.

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

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

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

25 More Great Memoirs

Presented in Alphabetical Order by Author

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

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

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

Martin Amis

Talk miramax books/hyperion, 2000.

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

Slow Days, Fast Company

Alfred a. knopf, 1977.

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

Russell Baker

Congdon & weed, 1982.

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

Kafka Was the Rage

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

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

Between the World and Me

Ta-nehisi coates, spiegel & grau, 2015.

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

The Year of Magical Thinking

Joan didion, alfred a. knopf, 2005.

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

Barbarian Days

William finnegan, penguin press, 2015.

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

Personal History

Katharine graham, alfred a. knopf, 1997.

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

Thinking in Pictures

Temple grandin, doubleday, 1995.

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

Autobiography of a Face

Lucy grealy, houghton mifflin, 1994.

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

Dancing With Cuba

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

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

Minor Characters

Joyce johnson, houghton mifflin, 1983.

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

The Memory Chalet

Penguin press, 2010.

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

Kiese Laymon

Scribner, 2018.

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

Priestdaddy

Patricia lockwood, riverhead books, 2017.

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

H Is for Hawk

Helen macdonald, grove press, 2015.

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

The Color of Water

James mcbride, riverhead books, 1996.

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

Angela’s Ashes

Frank mccourt, scribner, 1996.

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

Cockroaches

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

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

Keith Richards

Little, brown & company, 2010.

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

A Life in the Twentieth Century

Arthur schlesinger jr., houghton mifflin company, 2000.

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

Edmund White

Ecco/harpercollins publishers, 2006.

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

Why Be Happy When You Could Be Normal?

Jeanette winterson, grove press, 2012.

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

Close to the Knives

David wojnarowicz, vintage, 1991.

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

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Last updated on Feb 17, 2023

What is a Memoir? An Inside Look at Life Stories

A memoir is a narrative written from the author's perspective about a particular facet of their own life. As a type of nonfiction , memoirs are generally understood to be factual accounts — though it is accepted that they needn't be objective, merely a version of events as the author remembers them.

The term comes from the French word “mémoire,” which means “memory,” or “reminiscence.” To give you a touchstone before we go any further, here are a couple of famous memoir examples , some of which you might recognize:

• Walden by Henry David Thoreau;
• Angela’s Ashes by Frank McCourt;
• Becoming by Michelle Obama;
• Eat, Pray, Love by Elizabeth Gilbert; and
• Wild by Cheryl Strayed.

You’d be forgiven for mistaking any of these popular memoirs for a novel — since, just like novels, they have a plot, characters, themes, imagery, and dialogue . We like to think of memoirs as nonfiction by name and fiction by nature.  

A quick biography of the memoir

To trace the memoir back to its origins, we’ll need to don our best togas and hitch a chariot ride back to ancient Rome. That’s right, memoirs have been around since at least the first century BC when Julius Caesar’s Commentaries on the Gallic Wars offered not only a play-by-play of each battle but a peek into the mind of one of Rome’s most dynamic leaders. 

“I came, I saw, I conquered, my dudes!”

During the Middle Ages and into the Renaissance, memoirs continued to be written by the ruling classes, who interpreted historical events they played a role in or closely observed. The gentry — who had the luxuries of free time, literacy, and spare funds — would document the events and machinations of court, as well as the many military crusades. It was the French who particularly excelled, with diplomats, knights, and historians, such as Philippe de Comminnes and Blaise de Montluc, seizing the opportunity to cement their legacy. 

From the 17th century, memoirs began to revolve around people rather than events, though typically, the focus was not on the author’s own life but on the people around him. Once again, the French took the lead — namely, Duc de Saint-Simon, who has received literary fame for his penetrating character sketches of the court of Louis XIV. (Think diary entries packed with petty intrigue and rumor-mongering.)

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From Julius Caesar to Julia Roberts

As time wore on, this elite posse of memoirists came to include noted professionals, such as politicians and businessmen (it was still always men), who wanted to publish accounts of their own public exploits. The exception to this model was Henry David Thoreau's 1854 memoir Walden — an account of his two years in a Massachusetts cabin, finding fulfillment in the wilderness. 

In his book Memoir: A History , Ben Yagoda sketches a family tree pinning Walden as a precursor to the modern success of spiritual and “schtick lit” memoirs like Eat, Pray, Love and Gretchen Ruben’s The Happiness Project , as well as the long literary tradition of “My year of…” memoirs that gave us Joan Didion’s The Year of Magical Thinking . Yagoda also traces the roots of these spiritual memoirs back even further to The Confessions of St Augustine written in A.D. 397, in which Augustine admits to a sinful youth spent munching stolen pears ( gasp)  before finding the path to Christianity.

“I ate, I prayed, I loved, my dudes!” (image: Sony Pictures)

Yagoda’s point? Once a memoir type emerges, it’ll keep spawning subgenres. For example, traces of the professional memoir and the fragmentary diary can be found in Adam Kay’s medical bestseller This is Going to Hurt. One thing that all memoirs have in common, however, is that they allow us to get to know a stranger on an intimate level — a prospect that appeals to our nosy side and will likely never get old.

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Is a memoir the same as an autobiography?

Memoirs and autobiographies are usually found on the same shelves of the bookstore, and so are often conflated in the minds of authors. But we’re here to tell you they’re not the same thing. While both are accounts of the writer's experiences, autobiographies span their entire life, providing the who-what-where-when-why of each stage, in chronological order. 

Nelson Mandela’s Long Walk to Freedom is an example of an autobiography: it details his childhood, his years as a freedom fighter, as well as those spent in prison, and finally, the complex negotiations that led to his release and the beginning of the end of apartheid. 

A memoir, on the other hand, is more selective with its timeline. The constraints of the autobiography are loosened, and authors can intimately explore a pivotal moment or a particular facet of their life, allowing their thoughts and feelings to take control of the narrative. For example, journalist Ronan Farrow's Catch and Kill chronicles his investigation leading up to the #MeToo movement, while William Finnegan’s Barbarian Days is a soaring ode to his one great love and obsession — surfing. 

Memoir’s emphasis on storytelling is sometimes said to differentiate it from autobiography, but there are much more important differences to be aware of. After all, a good autobiography ought to weave a narrative, too. 

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They’re not just for celebrities

These days, most bestselling memoirs tend to be written by celebrities (or their ghostwriters ). Naturally, publishers are keen to capitalize on a well-known person's platform and existing fanbase to sell books — but that doesn't mean you need to be a reality star or a newsmaking criminal to tell your story. 

"You have to give people a reason to care about you," says Paul Carr, the author of three published traditionally published memoirs . "They need a reason to relate to your story — for your story to resonate with them."

While most people reading this article are probably not household names, there may be some aspects of your life that can be told in a way that touches on universal human experiences. Or perhaps your story is something that can help people improve their lives in big and small ways.

Even if your memoir doesn't have broad commercial potential, there can be other reasons for writing one:

• To recall and cement the memory of a certain time in your life;
• To leave behind an important story or lesson for your family;
• To document your travels or a once-in-a-lifetime trip;
• To open up about something painful or difficult; or simply,
• To tell a powerful story that will resonate with readers.

If there's someone out there who will benefit from reading your story — whether it's millions of fans or your immediate family — you may find that to be enough of a reason to pick up your pen and start to write.

In the next article in our series about memoirs, we offer up 21 examples of memoirs that might inspire you to write your own. 

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Home » Writing » Autobiography vs. Biography vs. Memoir

What is a Biography?

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

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

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

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

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

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

Examples of famous biographies include:

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

What is an Autobiography?

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

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

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

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

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

Examples of famous autobiographies include:

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

What is a Memoir?

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

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

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

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

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

Examples of famous memoirs include:

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

Autobiography vs. Biography vs. Memoir Comparison Chart

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

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

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

Autobiographies , Biographies , memoirs

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How to write an autobiography: 7 key steps

Many people who’ve lived interesting lives want to learn how to write an autobiography. Whether you want to write a memoir or a fictional autobiography, these 7 steps will help you start:

• Post author By Jordan
• 4 Comments on How to write an autobiography: 7 key steps

What is autobiography?

Autobiography means to write about yourself, typically the account of significant events in your life. The word stems from the Greek, αὐτός (autos) meaning self , plus βίος (bios) meaning life and γράφειν ( graphein ) – to write.

Autobiography vs memoir: What’s the difference?

What’s the difference between autobiography and memoir? Are there specific kinds of autobiography? These may be questions you ask as you set out to write your life story.

As Ian Jack writes in The Guardian , there are differences between autobiography vs memoir although the terms are often used interchangeably:

An autobiography is usually a record of accomplishment. All kinds of people, more or less famous, can write them or be helped to write them: footballers, politicians, newsreaders. Deeds, fame and an interesting life are not necessary ingredients of the memoir. The memoir’s ambition is to be interesting in itself, as a novel might be, about intimate, personal experience. It often aspires to be thought of as “literary”, and for that reason borrows many of literature’s tricks – the tricks of the novel, of fiction – because it wants to do more than record the past; it wants to re-create it. If a memoir is to succeed on those terms, on the grounds that all lives are interesting if well-enough realised, the writing has to be good. Ian Jack, in The Guardian , February 2003.

7 steps to write your own life story:

• Brainstorm your autobiography’s focus and scope
• Skim autobiographies for inspiration
• Choose between autobiography and memoir
• Outline key and illustrative life events
• Draft key scenes from your life
• Find strong transitions
• Check details and get beta readers

1. Brainstorm your autobiography’s focus and scope

Deciding what period and events you’ll cover in your life story is a helpful first step in choosing how to write an autobiography.

Squishing the intrigues, heartbreaks, surprises and secrets of your life into narrative form may seem an impossible task. Life of course does not unfold in neat paragraphs, scenes and chapters.

Make it easier and brainstorm your autobiography’s focus and scope. Ask:

• What period of my life do I want to tell readers about?
• Where should the timeline start? (Infancy? Childhood? Adolescence?)
• What are key events of my life readers may find intriguing?

This will help you refine your autobiography’s focus [you can also pinpoint your story’s focus in the Central Idea brainstorming tool in the Now Novel dashboard].

For deciding your story’s scope, ask:

• What essential scenes and events should I include?
• What themes or subjects need mention (for example, if you have experienced a trauma or illness that has greatly impacted your life, exploring personal events and insights that resulted from them would make sense)

Autobiography Exercise: Scenes to show

Write a brief bullet list of events to include in your autobiography or memoir.

Focus on events that show strong emotion, key turning points or changes, or vivid life lessons , because these connect with readers.

For example:

• A first encounter with someone who turned out to be an amazing mentor
• A positive or challenging move to another school, city or country in childhood
• The first time you met a major love interest in your life
• The moment you walked away from a job or other commitment to pursue a new dream

2. Skim autobiographies for inspiration

One of the best ways to learn how to write an autobiography is, of course, to read published examples.

Get hold of copies of autobiographies that interest you . Skim parts such as the beginning and end, chapter beginnings and endings. Read for details that leap out at you, grab your attention.

Take notes on how the author approaches telling their life story. Do they:

• Proceed chronologically from childhood to adulthood or play with time and memories?
• Start with a dramatic, life-changing incident or lead in slowly?
• Tell the reader what they’re going to cover or leave the reader to gradually discover the narrative structure or shape of the story?

Reading autobiography and note-taking in this way helps you see the options for how to structure your narrative.

3. Choose between autobiography and memoir

Reading autobiography examples will help you see how authors use common narrative elements.

For example, the acclaimed author Vladimir Nabokov begins Speak, Memory: An Autobiography Revisited :

The cradle rocks above an abyss, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness. […] I know, however, of a young chronophobiac who experienced something like panic when looking for the first time at homemade movies that had been taken a few weeks before his birth. Vladimir Nabokov, Speak Memory : An Autobiography Revisted (1967), 17.

Nabokov, in typically ornate fashion, breaks the ‘rules’ of autobiography. He uses third person to describe a ‘ young chronophobiac’ – one who is afraid of time. We can guess this ‘young chronophobiac’ is Nabokov himself, and that he is using a tone of ironic detachment to imply that the act of dredging through memories – or even the idea of time itself – fills him with ‘something like panic’.

The above seems more like a literary play with form (an attribute Ian Jack ascribes memoir) than a straightforward, chronological autobiography.

Readers might indeed wonder why Nabokov calls Speak, Memory an autobiography.

Nabokov does, however, proceed more or less chronologically, from before his birth, to Chapter 2 which begins:

It was the primordial cave (and not what Freudian mystics might suppose) that lay behind the games I played when I was four. Nabokov, Speak, Memory , p. 20.

Thus Nabokov blends elements of memoir. He blends illustrative snapshots of life (the part illuminating the whole) with key events (birth, childhood) typical of autobiographical narration.

Thinking about how you’ll structure your life story , however, will make it more purposeful and consistent.

Jump to Top

4. Outline key and illustrative life events

In deciding how to write an autobiography, there are two types of events to include:

• Key events – Crucial, formative experiences, for example an early childhood triumph or loss that shaped your view of the world.
• Illustrative events – Individual encounters, lessons, romances, teachers and mentors that provide texture, background, humour, drama or the other vital elements of storytelling .

Examples of key events and illustrative events in autobiography

As an example, Nabokov uses the games he would play as a child at the start of chapter two to illustrate how he came to value imagination and beauty . He describes making a couch tent:

I then had the fantastic pleasure of creeping through that pitch-dark tunnel, where I lingered a little to listen to the singing in my ears – that lonesome vibration so familiar to small boys in dusty hiding places – and then, in a burst of delicious panic, on rapidly thudding hands and knees I would reach the tunnel’s far end…’ Nabokov, Speak, Memory , p. 20.

This is an example of illustrative event: a scene in autobiography that reveals something about the author.

In this case, we see Nabokov’s love of games of imagination and sensory stimulation (something one finds abundant in his fiction).

An example of a key event would be a major relocation, a historical conflict (such as war), or another key turning point. For example, Nabokov describes the effects of the Russo-Japanese War (a key event) in 1905 on the family unit:

The close of Russia’s disastrous campaign in the Far East was accompanied by furious internal disorders. Undaunted by them, my mother, with her three children, returned to St. Petersburg after almost a year of foreign resorts. Nabokov, Speak, Memory , p. 24.

Autobiography exercise: Finding key and illustrative events

Write a bullet list each of key and illustrative events – a sentence describing each. Examples:

• The year my family moved from Country A to Country B
• The first time I held a violin in my hands
• The first close friendship I ever made at school

Illustrative Events

• The experience and emotion of boarding a plane for the first time
• A specific funny or insightful violin lesson or teacher
• A day with a close school friend that left an indelible impression

5. Draft key scenes from your life

Now that you have ideas for key and illustrative events in your life, expand on an example.

Use the techniques of fiction to enrich the scene.

For example, Nabokov describes his sensory impressions behind the family couch.

• Impressions of sound, smell, touch, taste or specific visual details
• Emotions (Nabokov conveys a palpable sense of the child’s simultaneous delight in secrecy and panic in the dark when he describes crawling through the tunnel he made using the family couch)

As you draft, keep this in mind: What do I want to tell, show, teach? How will this help, entertain, surprise, amuse my reader?

6. Find strong transitions

Learning how to write an autobiography is not that different from learning how to write fiction.

For one, autobiographical writing and fiction writing both need engaging introductions, transitions, exposition and development.

An advantage of memoir and autobiography is that transition is a shared, relatable part of life.

For example, most children in countries where school attendance is required by law will leave the family unit and go out into the world at a similar age.

These key life changes are useful places in a memoir or autobiography for chapter breaks or scene transitions . Nabokov, for example, uses the family move to St Petersburg at the start of Chapter 4 to transition into describing his first teacher, a natural early childhood memory to include:

With a sharp and merry blast from the whistle that was part of my first sailor suit, my childhood calls me back into that distant past to have me shake hands again with my delightful teacher. Vasiliy Martinovich Zhernosekov had a fuzzy brown beard, a balding head, and china-blue eyes, one of which bore a fascinating excrescence on the upper lid. Nabokob, Speak, Memory , p. 24.

Note how Nabokov signals the narrative transition – by describing a sound he associates with that period of his life. It’s a vivid, descriptive way to end one section of story and begin another.

7. Check details and get beta readers

As you write an autobiography or memoir, it’s often helpful to speak to family or old friends. Because you never know who may remember a funny, interesting or surprising detail about a time you are remembering and trying to capture.

The people who know you best may be your best beta readers when you write about yourself. It’s also good etiquette, if writing about a family member or friend who is still living, to run sections concerning them past them.

Need someone to read over your autobiography so far? Get help from a skilled editor. Jump to Top

Related Posts:

• What will help me write a book? 7 steps
• How to write a flashback scene: 7 key steps
• How do you write an outline for a novel? 7 easy steps
• Tags autobiographical writing

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

4 replies on “How to write an autobiography: 7 key steps”

Just starting to write a family history beginning with what I know about my immigrant grandparents, then with a follow-up through moves and my childhood.

Hi Peter, that sounds a wonderful use of family history. I hope it is going well.

Very helpful.

Glad you found it helpful, Sally. Thanks for writing in.

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Memoir vs Autobiography

The literary realms of memoir and autobiography reveals a nuanced landscape where personal narratives take center stage, yet each genre follows its distinct path. While both memoirs and autobiographies present the story of a life as told by the individual who lived it, they diverge in scope and focus, inviting readers into the author’s world through the lens of first-person narration. Memoirs offer a window into specific vignettes or periods, painting vivid pictures of moments that have shaped the author’s perspective, often tied together by a central theme or emotional journey. This selective exploration allows for a deep dive into the intricacies of human experience, emphasizing the subjective interpretation of events.

Autobiographies, by contrast, commit to a broader sweep, chronicling the author’s journey from birth to the present in a comprehensive and chronological manner. This genre demands a commitment to factual accuracy and historical context, often serving as a legacy piece that encapsulates the entirety of the author’s life. The distinction between these two forms of personal storytelling is crucial for students and readers alike, as it illuminates not only the author’s intent but also the impact these narratives have on our understanding of the human condition. Through the exploration of memoirs and autobiographies, we are invited to reflect on the nature of memory, identity, and the art of storytelling itself.

Memoir vs Autobiography – Meanings Memoir: A memoir is a form of narrative writing where the author recounts and reflects upon specific episodes or phases in their life, emphasizing personal experiences and the emotional journey associated with them. Rather than a comprehensive life history, memoirs focus on profound moments or themes, offering insights into the author’s inner world and how particular events have shaped their perspective. This genre allows for a more intimate exploration of subjectivity and memory, often presenting a thematic or episodic structure rather than a chronological one. Autobiography: An Autobiography is a structured, chronological account of the author’s life, detailing experiences from birth to the present day. It aims to provide a factual, comprehensive overview of the author’s entire life, including significant milestones, challenges, and achievements. Autobiographies often incorporate broader historical and cultural contexts, giving readers a detailed backdrop against which the author’s life unfolded. This genre emphasizes factual accuracy and completeness, serving as a historical document that captures the entirety of the author’s personal and professional journey.

Memoir and autobiography are closely related nonfiction genres that both delve into the author’s life story, narrated in the first person, making extensive use of personal pronouns like “I” and “me.” Despite their apparent similarities, including their factual basis and personal narrative style, they diverge in scope and intent. Memoirs offer a curated glimpse into pivotal moments or themes, weaving a tapestry of significant experiences that have shaped the author’s identity and worldview. In contrast, autobiographies present a comprehensive, chronological exploration of the author’s life, providing a detailed and historical documentation from birth to the present, encapsulating the full spectrum of life’s events and milestones.

Difference Between Memoir and Autobiography

Memoirs , with their reflective and thematic nature, invite readers into the author’s heart and mind, spotlighting transformative moments and emotional truths. Autobiographies , on the other hand, offer a panoramic view of the author’s journey, meticulously charting the course from birth to the present, often within a broader historical and societal context. This comparison aims to illuminate the unique qualities of each genre, guiding readers, writers, and students in distinguishing between these closely related but fundamentally different narratives.

By exploring these distinctions, readers and writers alike can better appreciate the depth and breadth of personal storytelling, whether it’s capturing the essence of pivotal moments in a memoir or chronicling the expansive narrative of a life in an autobiography.

Examples of Memoir and Autobiography

Memoirs allow authors to delve into specific facets of their lives, offering readers a glimpse into their personal experiences, emotions, and reflections on pivotal moments. These narratives often focus on a particular theme or period, bringing forth a deep, introspective journey.

Memoir Examples:

• “She recounted her year in Paris, exploring self-discovery in her memoir .”
• “His memoir vividly describes the challenges of growing up in a war-torn country.”
• “In her memoir , she shares the lessons learned from a decade of humanitarian work.”
• “The memoir delves into his journey of overcoming addiction and finding redemption.”
• “Her memoir paints a poignant picture of life as a first-generation immigrant.”

Autobiographies present a comprehensive account of an individual’s life, narrated from birth to the present. These works often weave personal achievements and challenges into the broader historical and cultural context of the author’s lifetime.

Autobiography Examples:

• “In his autobiography , he details his rise from humble beginnings to a celebrated scientist.”
• “Her autobiography chronicles the journey from a small town to becoming a renowned actress.”
• “The autobiography covers his entire career in public service, highlighting key reforms.”
• “She traces her lineage and personal growth in her revealing autobiography .”
• “His autobiography offers insights into the tech industry’s evolution through his eyes.”

When to Use Memoir and Autobiography

Choosing between writing a memoir and an autobiography depends on the author’s intent, the story they wish to tell, and how they want to connect with their audience.

Usage of Memoir 

• You want to focus on specific, impactful periods or themes in your life rather than a comprehensive chronology.
• You’re aiming to explore and reflect on the emotional and philosophical lessons learned from your experiences.
• You prefer a narrative that allows for a more creative and less linear structure, centered around personal growth, particular events, or relationships.
• Your goal is to engage readers on a deeply personal level, offering insights into your perceptions and internal experiences.

Usage of Autobiography 

• You intend to provide a detailed account of your life from birth to the present, covering all major phases and milestones.
• You aim to document your life’s achievements, challenges, and contributions within a broader historical, cultural, or professional context.
• You’re committed to factual accuracy and chronological structure, offering a historical record of your life.
• Your purpose is to leave a legacy that encapsulates your life’s journey, providing a factual reference for readers interested in your entire life story.

How is an memoir and autobiography structured?

Memoir structure.

• Introduction : Introduces the theme or central idea of the memoir, often with an engaging hook to draw readers in.
• Chronological : Events are presented in the order they occurred, focusing on specific periods or events in the author’s life related to the central theme.
• Thematic : The memoir is organized around themes or lessons rather than in strict chronological order, weaving different times and events together based on subject matter.
• Vivid Descriptions and Reflections : Detailed descriptions of people, places, and events, coupled with the author’s personal reflections and emotional responses.
• Character Development : Focus on the growth and changes in the author over time, highlighting turning points and key experiences.
• Climax or Turning Point : A pivotal event or realization that represents the peak of the narrative arc, often leading to a significant change or insight.
• Resolution and Conclusion : Wraps up the narrative, tying together the main themes and reflecting on the journey, sometimes looking to the future or offering a final thought or lesson learned.

Autobiography Structure

• Early Life and Background : Introduction to the author’s family background, childhood, and formative experiences.
• Linear Narrative : The story unfolds in a linear fashion, detailing the author’s life from early years through adulthood, in a more comprehensive manner than a memoir.
• Educational and Career Milestones : Emphasis on the author’s education, career development, and significant achievements.
• Significant Relationships and Influences : Discussion of key relationships and people who have had a significant impact on the author’s life and development.
• Challenges and Overcoming Adversity : Accounts of major obstacles, challenges, and how they were overcome, contributing to the author’s character and life story.
• Personal Philosophy and Reflections : Insights into the author’s beliefs, values, and philosophical outlook on life, often intertwined with their life story.
• Later Life and Legacy : The later stages of the author’s life, their reflections on their experiences, and thoughts on their legacy and contributions.
• Conclusion : A final overview of the author’s life, encapsulating the key messages and lessons of the autobiography, and sometimes offering advice or inspiration to the reader.

Tips for Memoir and Autobiography

• Reflect Deeply : Before writing, spend time reflecting on key life moments and the lessons learned from them.
• Identify a Central Theme : Determine the core message or theme of your story to provide focus and coherence.
• Create a Structured Outline : Organize your thoughts and memories to guide your writing process and ensure a logical flow.
• Emphasize Emotional Truth : Share your experiences with honesty and vulnerability to create a genuine connection with readers.
• Utilize Vivid Descriptions : Use sensory details and vivid imagery to bring your story to life and immerse readers in your experiences.
• Incorporate Dialogue : Use conversations to add dynamism and reveal character traits and pivotal moments.
• Connect with Broader Themes : Relate your personal story to larger historical, cultural, or social contexts for added depth.
• Edit and Revise Thoroughly : Be prepared to refine your work, focusing on clarity and emotional impact.
• Maintain Your Unique Voice : Ensure your personal tone and style are evident throughout your narrative.
• Seek Feedback and Guidance : Consider input from trusted individuals or professionals to enhance your manuscript.

What are the key similarities between memoir and autobiography?

Both memoirs and autobiographies are nonfiction narratives focusing on the author’s life. They often include personal experiences, reflections, and significant events, presenting a detailed account of the author’s journey, allowing readers to gain insights into their perspectives and challenges.

How do memoirs and autobiographies differ?

Memoirs typically focus on specific themes or periods within the author’s life, emphasizing emotional experiences and personal growth. Autobiographies provide a more comprehensive life history, detailing the author’s entire life from birth to the present or up until the writing of the book.

Should I write a memoir or autobiography?

Choose to write a memoir if you wish to share poignant, thematic stories from your life, focusing on emotional truths and personal growth. Opt for an autobiography if your goal is to document your entire life story, offering a chronological and factual account of your experiences.

How do you end a memoir?

End your memoir by reflecting on the journey shared, highlighting the lessons learned and how these experiences have shaped you. A compelling conclusion often ties back to the beginning, offering closure and leaving readers with a lasting impression of your personal growth and insights

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Rebecca Hussey

Rebecca holds a PhD in English and is a professor at Norwalk Community College in Connecticut. She teaches courses in composition, literature, and the arts. When she’s not reading or grading papers, she’s hanging out with her husband and son and/or riding her bike and/or buying books. She can't get enough of reading and writing about books, so she writes the bookish newsletter "Reading Indie," focusing on small press books and translations. Newsletter: Reading Indie Twitter: @ofbooksandbikes

View All posts by Rebecca Hussey

Feeling confused about the difference between memoir and autobiography? You’re not the only one. The terms are sometimes used interchangeably, and there is a lot of overlap between the two, so confusion is understandable. But there are some basic differences that will help you distinguish between them and make sure you are using the most appropriate word. Knowing the difference will help you choose what to read, as well: you should know what you are getting into when you pick up a book labeled memoir vs. autobiography.

First, let’s discuss similarities between the two. Both autobiography and memoir are first-person accounts of the writer’s life. This means the writer is describing her or his life using “I” and “me” (“I did this, then this happened to me,” etc.) One exception to this is that sometimes autobiographies are written in the third person (where the author refers to him or herself as “he” or “she”), but this is not common and rarely seen in contemporary writing. Mostly, both genres are about writers telling readers about their lives in their own voice.

That’s pretty simple. What’s trickier is figuring out what makes these genres different. So here’s a breakdown of the difference between memoir and autobiography, that I’ll discuss more below.

Memoir vs. Autobiography Basics

1. autobiography usually covers the author’s entire life up to the point of writing, while memoir focuses only on a part of the author’s life..

There are going to be exceptions to every point on this list, but generally speaking, autobiography aims to be comprehensive, while memoir does not. Autobiographers set out to tell the story of their life, and while some parts will get more detail than others, they usually cover most or all of it.

Memoirists will often choose a particularly important or interesting part of their life to write about and ignore or briefly summarize the rest. They will sometimes choose a theme or subject and tell stories from different parts of their life that illustrate its significance to them.

As examples,  The Autobiography of Malcolm X  covers the major points of Malcolm X’s life, while  Abandon Me: A Memoir by Melissa Febos focuses mainly on two significant relationships (with her father and with a lover).

2. In autobiography, authors usually tell their life stories because they are famous and important. A memoirist can be anybody, famous or not.

Long Walk to Freedom,  Nelson Mandela’s autobiography, is a good example: he was an important person whose personal account of his life matters because of who he was and everything he accomplished.

For memoir, Mary Karr’s  The Liar’s Club is not the story of a famous person; instead, it’s an account of a regular person’s childhood. Her childhood was especially eventful, but it doesn’t stand out because she was famous. Memoirists do sometimes become famous, but usually it’s for writing memoirs.

3. People read autobiographies because they want to know about a particular (probably famous) person. They read memoirs because they are interested in a certain subject or story or they are drawn to the writer’s style or voice.

The Autobiography of Benjamin Franklin is a book people might read because they want to learn about an important historical figure. They may also have heard it’s exceptionally interesting and well-written, but the desire to learn about a person who shaped U.S. history is probably the main motivation.

On the other hand, readers may pick up Roxane Gay’s memoir  Hunger: A Memoir of (My) Body because they want to read about food, weight, and body image. Or they may admire Gay’s essays available online and want to explore more of her work. The motivation here is more about subject and style and less about the writer as a historical or cultural figure.

4. Autobiographies tend to be written in chronological order, while memoirs often move back and forth in time.

When readers pick up an autobiography, they expect it to begin with the author’s childhood (or perhaps even with the author’s parents’ lives), to proceed through young adulthood and middle age, through to the time of the writing. Olaudah Equiano’s  The Interesting Narrative of the Life of Olaudah Equiano  does just that, opening with his childhood and proceeding in a straightforward manner through time.

Memoirs, on the other hand, can be much looser in their treatment of time.  Heart Berries by Terese Marie Mailhot shifts back and forth in time and has a structure more focused on theme than chronology. We finish the book with a sense of the major events of Mailhot’s life, but not necessarily their order.

5. Autobiography places greater emphasis on facts and how the writer fits into the historical record, while memoir emphasizes personal experience and interiority.

Autobiographies are sometimes thought of as a form of history and they are used as source material for historians. While it’s possible for both autobiographers and memoirists to get their facts wrong, the stakes are higher for the autobiographer who made history or witnessed historically-important events.

Frederick Douglass’s Narrative of the Life of Frederick Douglass  is important in part because of Douglass’s work as an orator, statesman, and abolitionist. His historical stature adds to the significance of his book.

The facts matter in memoir, but it’s understood that memoirists select and shape the facts of their lives to explore their chosen theme. Darin Strauss’s  Half a Life: A Memoir is rooted in a real-life event—a car crash in which Strauss accidentally hit and killed a classmate—but it focuses on the emotional aftereffects of this event rather than the historical context of Strauss’s life.

And there you have it! Again, these distinctions are loose ones, but hopefully they have helped you understand the different connotations of the two words.

Want to read more about memoir? Check out this list of 100 must-read memoirs , this discussion of how to define the term “memoir,” and this post on short memoirs .

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15 Autobiography Examples to Inspire Your Own

POSTED ON Oct 25, 2023

Written by Nicole Ahlering

So you’re ready to write an autobiography ! Congratulations; this can be a gratifying personal project. And just like any creative endeavor, it’s a great idea to start by getting inspired. 

In this article, we’re sharing 15 stellar autobiography examples to get your wheels turning. We’ll also share some need-to-know info on the different types of autobiographies and autobiography layouts, and we’ll leave you with a list of catchy ways to start your book. Let’s get going!

In this article, we'll explore:

What are the different types of autobiographies .

As it turns out, there are many different ways to write a book about yourself. You can go the traditional autobiography route, which is a chronological account of your entire life. Or you can write a memoir , which zeroes in on specific themes or time periods in your life. 

If you’d like, your autobiography can be composed of individual personal essays, or you can blend your autobiography with literary techniques to create a piece of creative nonfiction . 

There are graphic autobiographies that use comics or other combinations of images and text to illustrate your life story, or you can simply publish an edited version of your journal or diary . 

You can write a travelog that documents your life through your adventures or blend elements of your life with made-up stories to create autobiographical fiction . 

When it comes to sharing your life story, there are few rules!

How can I lay out my autobiography? 

Did you know there are multiple ways you can structure your autobiography? The most common is to put it in chronological order . But you can also lay out your book in reverse chronological order or even jump around in time .

Here are a few other layouts to consider: 

• Thematic or topical . As you outline your autobiography, pay attention to themes that emerge. You can lay out your autobiography by central ideas rather than by time. 
• Flashback and flash-forward. This nonlinear approach can be a great way to create some excitement and intrigue in your life story.
• Cyclical structure. Is there one event that you feel defined your life story? Why not try circling back to it throughout your book? This can be an interesting way to demonstrate how your perspective changed with time. 

If you need a little more help laying out your autobiography, we have free autobiography templates and free book templates to help you. 

Related: 50 Eye-Catching Autobiography Titles

15 Autobiographies to inspire your own 

Ready to get your creative juices flowing? Here are some examples of autobiography to add to your reading list. 

1. The Diary of a Young Girl by Anne Frank

One of the best-known autobiographies, The Diary of a Young Girl, is an excellent example of a journal-style layout. Featuring the story of a young girl who is hiding during the Holocaust, aspiring writers will find inspiration in Frank’s raw emotions and candor. 

2. Autobiography of a Yogi by Paramahansa Yogananda 

A favorite of Steve Jobs, this autobiography details the author’s spiritual journey through yoga and meditation. It’s a wonderful example of how to blend the recounting of events with spiritual insights and philosophical teachings. 

3. Long Walk to Freedom by Nelson Mandela 

The former South African president wrote this stunning autobiography about his struggle against apartheid, his imprisonment, and his presidency. Aspiring autobiography writers who want to write a book about social change should read this one. 

4. The Story of My Experiments with Truth by Mahatma Gandhi

In his autobiography, Gandhi explores his philosophy of nonviolent resistance through his political and spiritual journey. Writers will appreciate this book for the way it weaves stories of personal growth into a larger narrative of social change. 

5. I Know Why the Caged Bird Sings by Maya Angelou

One of several autobiographical works by Angelou, I Know Why the Caged Bird Sings explores her coming-of-age experience amidst racism and a traumatic childhood. Writers should read this to hear Angelou’s powerful story and be inspired by her vivid language. 

6. The Story of My Life by Hellen Keller

Keller details her remarkable life as a deaf and blind person, sharing intimate details about her education and advocacy work. Aspiring writers will benefit from reading Keller’s sensory-rich language since she has the unique experience of navigating the world through touch.

7. The Autobiography of Malcolm X by Malcolm X

This autobiography, written in collaboration with journalist Alex Haley, tracks Malcolm X from his youth through his adulthood as a prominent activist in the civil rights movement. Read this one to learn tips and tricks for writing about your personal evolution. 

8. The Story of My Life by Clarence Darrow 

Darrow shares his experiences as a civil libertarian and prominent American Lawyer in this enlightening autobiography. Writers should read this one to learn how to build a persuasive argument in their book. 

9. Born a Crime by Trevor Noah 

South African comedian, television host, and political commentator Trevor Noah wrote this autobiography detailing his upbringing during apartheid in South Africa. This is a must-read for writers who are looking to infuse humor into their autobiographies—even when writing about heavy subjects . 

10. I am Malala by Malala Yousafzai

In her autobiography, Yousafzia recounts her tumultuous and sometimes terrifying journey advocating for equal education for girls. If you want to write your own autobiography, read this one first to learn how to bring an authentic voice to your narrative. 

11. The Hiding Place by Corrie Ten Boom

Boom’s autobiography shares the harrowing story of her family’s efforts to hide Jews from the Nazis during World War II. Writers should read this to witness how Boom weaves a historical narrative into her life story. 

12. Agatha Christie: An Autobiography by Agatha Christie 

Renowned mystery writer Agatha Christie took time away from her suspenseful novels to write a book about herself. If you plan to write an autobiography, read Christie’s first to learn how to build a sense of intrigue. 

13. Chronicles: Volume 1 by Bob Dylan 

If you’re an artist writing your autobiography, you’ll be inspired by Dylan’s. It shares his unique perspective on the creative process in music and literature and delves into what it means to maintain your artistic vision. 

14. When Breath Becomes Air by Paul Kalanithi 

This well-known autobiography may make you cry, but it’s well worth the read. Written by a surgeon as he faces a terminal illness, it’s a must-read for any author exploring themes of mortality in their writing. 

15. Dreams From My Father by Barack Obama 

This autobiography by the former U.S. president is a great read for anyone aspiring to write an autobiography that intertwines their personal story with a larger societal and political narrative. 

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What is a catchy autobiography introduction? 

Sometimes the hardest part of a new project is getting started. If you’re ready to begin writing your autobiography and need a good opener, here are some angles to consider: 

• Start by describing a childhood dream and how it influenced your journey. 
• Open with a letter to your younger self.
• Share a formative childhood memory. 
• Start with a thought-provoking question you’ll answer as your book progresses.
• Talk about an object that’s meaningful to you and tie it to a larger story about your life.

With so much inspiration and so many wonderful resources, there’s never been a better time to write your autobiography. If, after reading a few books on this list, you’re not sure where to start with yours—let us help! Just sign up for a book consultation to get started.

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Autobiography of a Face, by Lucy Grealy

Childhood cancer left Grealy with half her jaw removed, a disfigurement that filled her with self-loathing. A heartbreakingly wise child reborn as a brilliant writer, she puts readers in touch with a self beyond ugliness or pain.

The Liars' Club, by Mary Karr

With deadpan humor, a killer eye for detail, and a badass persona founded at age 7, Karr makes a convincing case that there's no dysfunctional childhood that can't be redeemed with a great story.

Prozac Nation, by Elizabeth Wurtzel

Wurtzel's raw emotional honesty about coming of age with a diagnosis and a bottomless pill bottle stirred up a storm of criticism and outrage but spoke straight to the hearts of the Kurt Cobain generation.

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Eat, Pray, Love, by Elizabeth Gilbert

Lifting up brokenhearted women since 2006, this iconic story of reinvention after divorce goes from the pits—a cold bathroom floor—to the peaks, a year of sensory delights and spiritual magic in Italy, India, and Bali.

Girl, Interrupted, by Susanna Kaysen

Kaysen's parents were so frightened by her adolescent melodrama that they hustled her into treatment and she spent over a year in a mental hospital. Her ability to recreate the mindset of a miserable 18-year-old qualifies this memoir as a self-help book for parents.

A Heartbreaking Work of Staggering Genius, by Dave Eggers

When their parents died within weeks of each other, leaving him the caretaker of his 8-year-old brother, the 21-year-old author had just one superpower—irony. If there's a grief guide for the cool kids, this is it.

When Breath Becomes Air, by Paul Kalanithi

If you need to know what makes life worth living in the face of a terminal diagnosis, this book has an answer. The heartfelt reckoning of a 36-year-old neurosurgery resident with stage IV cancer was completed by his wife after he died.

Drinking, by Caroline Knapp

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Reading Lolita in Tehran, by Azar Nafisi

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Running with Scissors, by Augusten Burroughs

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H Is for Hawk, by Helen Macdonald

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Just Kids, by Patti Smith

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Men We Reaped, by Jesmyn Ward

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First They Killed My Father, by Loung Ung

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The Year of Magical Thinking, by Joan Didion

Read this book to be astonished—by the gutting nightmare of Didion's loss, and by the power of her intellect and her sentences to transform it into an immortal thing of beauty and deep humanity.

The Glass Castle, by Jeannette Walls

Without a bit of sugarcoating, Walls shows how we can love our families and our history no matter how much of a nightmare it all was. Her journey from the trailer park to the limo is an all-American success story.

Me Talk Pretty One Day, by David Sedaris

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What Is a Memoir? Definition, Usage, and Literary Examples

Memoir definition.

A  memoir  (MIM-wahr) is a literary form in which the author relates and reflects on experiences from their own life. Memoirs and  autobiographies  share many similarities, as both are types of self-written  biographies . But while an autobiography provides a comprehensive account of someone’s life, a memoir is a series of formative or notable memories or events that impacted the author in some way. Memoirs also focus on the author’s thoughts and feelings about those events, what they learned, and how they integrated the experiences into their life.

The term  memoir  comes from the early 15th century Anglo-French word  memorie , meaning “written record” or “something written to be kept in mind.”

The History of the Memoir Genre

The literary genre of memoir has been around since ancient times. One of the first prominent memoirs was  Commentaries on the Gallic Wars  by Julius Caesar, in which Caesar recounted his exploits fighting in the Gallic Wars. During the Middle Ages, historians Geoffrey of Villehardouin and Jean de Joinville and diplomat Philippe de Commines wrote notable memoirs. French princess Margaret of Valois was the first woman to write a modern memoir during this period.

Memoirs have been (and continue to be) a popular genre. Henry David Thoreau released  Walden  in 1854, recording his experiences living simply in the New England woods.  Out of Africa  (1937) recounts Isak Dinesen’s time attempting to start a coffee plantation in Kenya.  A Moveable Feast  (1964) is Ernest Hemingway’s account of his years as an American expatriate in Paris in the 1920s.  Travels with Charley: In Search of America  is a travel memoir by John Steinbeck, chronicling an epic road trip with his poodle. All of these have become classics of the genre.

The Elements of Memoirs

Nearly all memoirs contain six main elements that serve to communicate the story of the author’s life clearly and realistically to the reader.

An Emotional Journey

The memoirist goes through some type of emotional evolution over the course of their story, which helps readers identify with the author’s struggle. Cheryl Strayed’s  Wild  is about Strayed grieving the end of her marriage and the death of her mother, reflected in her challenging backpacking trip along the Pacific Crest Trail.

Obstacles are the things standing in the way of the author getting what they want or need. Overcoming obstacles builds tension within a story and keeps the reader turning the page.  Prozac Nation  by Elizabeth Wurtzel charts her struggle to conquer depression as a young woman in 1990s America. The obstacle of mental illness is further complicated by other, more mundane obstacles in Wurtzel’s life, like going to college, working her first professional job, and maintaining interpersonal relationships. Ultimately, Wurtzel doesn’t so much defeat her depression as she does manage it through medication and other supports.

• Point of View

Memoirs are always told in first person  point of view , using  I / me / my  language. This makes the story personal and the experiences subjective. In fact, objectivity is difficult to achieve in memoirs since the  narrative  is filtered through the author/subject’s  perspective . Author Steve Almond once said, “Memoirs are radically subjective versions of objective events.”

A memoir is tied together by a common topic, premise, or lesson. This theme is not the author’s life as a whole; if it is, then the book is an autobiography. A memoirist doesn’t set out to capture all the critical moments of a life—only those that have special significance. For instance, Anne Lamott’s  Bird by Bird  is a book of writing instructions connected by the larger theme of lessons Lamott has learned about life and faith.

Perhaps the most defining characteristic of any memoir or autobiography, truth is essential to telling a relatable story. Even in cases where an author had an epic, larger-than-life, or downright strange experience, the emotional truth of the described events must resonate with readers to some extent. Readers trust that a memoirist will tell the truth, and if the memoirist violates that trust, it can be scandalous at best and career-destroying at worst.

For example, after the publication of James Frey’s memoir  A Million Little Pieces , evidence emerged that Frey invented key parts of the story. The revelation rocked the literary world; his lack of honesty undermined what readers believe is an authorial responsibility to accurately tell a story, as well as the publisher’s duty to truthfully market their books.

Every memoirist writes their book in their own unique  voice . Voice is the style in which a writer writes: the way they convey their thoughts, their word choices and patterns, and their storytelling approach. A reader finishes a memoir with a distinct idea of the author’s voice in their head. For example, Carrie Fisher’s  Shockaholic  chronicles the actor’s affection for electroconvulsive therapy, which she feels saved her life multiple times over. Fisher blends her wisecracking sense of humor with a serious dedication to raising mental health awareness and helping others, resulting in a voice uniquely her own.

Memoir Styles

Memoirists can tell their stories in a number of ways. Framing devices are popular structures for memoirs, opening and closing with more recent events and, in between, going back in time to earlier events.

Many authors construct their memoirs as a series of anecdotes or short snapshots about their lives. This has been a popular approach in recent years with several notable essay collections receiving widespread attention and landing on bestseller lists. For instance, actors Anna Kendrick and Mindy Kaling released personal essay collections largely centered around their Hollywood experiences.

Famous people, however, are not the only ones who write successful memoirs. Ordinary folks often have just as, if not, more interesting stories to tell.  A Three Dog Life  by Abigail Thomas explores the author’s life after her husband suffers a traumatic brain injury;  Julie & Julia: My Year of Cooking Dangerously  charts Julie Powell’s attempts to cook all the recipes in Julia Child’s  Mastering the Art of French Cooking ; and  Running with Scissors  is about a very bizarre period in the childhood of writer Augusten Burroughs, in which his mother’s mentally unstable psychiatrist becomes Burroughs’s guardian.

Other common memoir subjects include addiction, mental illness, difficult childhoods, spiritual or religious quests, travelogues, and political careers.

The Function of Memoirs

A memoir gives an author an opportunity to share what they have learned from specific life experiences. Instead of recording every major life event, a memoir focuses on certain details around a central theme. This approach helps the author find clarity and meaning in their lives.

Memoirs also help readers gain insights, both into the lives of others and their own. Memoirs invite readers into someone else’s mind, and in doing so provide answers, a sense of humor, common ground, and/or interesting or unique stories that speak to life’s challenges or absurdities.

Notable Memoirists

• Sarah M. Bloom,  The Yellow House
• Charles M. Blow,  Fire Shut Up in My Bones
• Augusten Burroughs,  Running with Scissors ,  A Wolf at the Table
• Joan Didion,  The Year of Magical Thinking ,  Blue Nights
• Isak Dinesen,  Out of Africa ,  Shadows on the Grass
• Carrie Fisher,  Wishful Drinking ,  Shockaholic
• James Frey,  A Million Little Pieces
• Joy Harjo,  Crazy Brave
• Saeed Jones,  How We Fight for Our Lives
• Mary Karr,  The Liar’s Club ,  Cherry
• Frank McCourt,  Angela’s Ashes
• Patti Smith,  Just Kids ,  M Train

Examples of Memoirs

1. Elie Wiesel,  Night

Night  tells the story of Wiesel’s time in the Auschwitz and Buchenwald concentration camps during World War II. The memoir opens with Wiesel and his family fleeing their small Transylvanian hometown before Nazis capture them. When they arrive at Auschwitz, the Nazis separate Wiesel and his father from his mother and sister. Grappling with his faith and fighting for survival, Wiesel must also care for his ailing father.

Eventually, the Nazis send them to other camps before the two ultimately arrive at Buchenwald. Wiesel’s father dies just before the Allies liberate the camp, and though Wiesel survives, the experience haunts him forever.  Night  is not only about his experiences but what those experiences taught him about humanity and forgiveness.

2. Joan Didion,  The Year of Magical Thinking

The Year of Magical Thinking  is Didion’s record of the first year of her life after the death of her husband, John Gregory Dunne. One evening, Dunne suddenly collapses, and Didion’s life is forever changed. She devotes the next year to analyzing his death, trying to make sense of it, while navigating the turbulent waters of her own grief. She relies on the power of words, medical and psychological research, and her own “magical thinking”—the false belief that her thoughts or actions will change the course of events—to get her through.

3. Roxane Gay,  Hunger

Hunger  is Gay’s memoir of her relationship with her body and food. This relationship is rooted in an early sexual trauma, and she subsequently turns to food as a means of protecting her vulnerable body from the world. She thinks that by overeating, she will make her body unappealing to men and thereby prevent another violation. Gay struggles with eating and her weight for many years afterward, and there is no easy resolution. She ultimately begins to embrace her own worth and understands that her value is not in any way connected to her size.

Further Resources on Memoir

In  The New Yorker , Stephanie Burt discusses  “Literary Style and the Lessons of the Memoir.”

A University of California, Berkeley, website delves into the  history of memoirs  and profiles a few notable contributions to the genre.

Pat McNees compiles several anecdotes about  voice in memoir .

Goodreads has a list of  popular memoirs .

Reader’s Digest put together a list of  17 Memoirs Everyone Should Read .

Related Terms

• Autobiography
• Frame Story

10 Contemporary Biographies, Autobiographies, and Memoirs for Teens

Real-life personal stories to inspire today's teens

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For some teens, reading the life stories of others—whether they're famous authors or victims of a civil war—can be an inspiring experience. This list of highly recommended contemporary biographies , autobiographies , and memoirs written for young adults includes life lessons about making choices, overcoming monumental challenges, and having the courage to be a voice for positive change.

Hole in My Life by Jack Gantos

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In his autobiographical memoir, "Hole in My Life" (Farrar, Straus & Giroux, 2004), award-winning children’s and young adult author Jack Gantos shares his compelling story about making a single choice that altered his destiny. As a young man of 20 struggling to find direction, Gantos seized an opportunity for quick cash and adventure, signing on to help sail a 60-foot yacht with a cargo of hashish from the Virgin Islands to New York City. What he hadn’t anticipated was getting caught. Winner of the Printz Honor Award, Gantos holds nothing back about his experiences with prison life, drugs, and the consequences of making one very bad decision. (Due to mature themes, this book is recommended for ages 14 and up.)

While Gantos clearly made a huge mistake, as evidenced by his critically acclaimed body of work, he was able to turn his life back around. In 2012, Gantos won the John Newbery Medal for his middle-grade novel "Dead End in Norvelt" (Farrar, Straus & Giroux, 2011).

Soul Surfer by Bethany Hamilton

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"Soul Surfer: A True Story of Faith, Family, and Fighting to Get Back on the Board" (MTV Books, 2006) is Bethany Hamilton's story. At 14, competitive surfer Bethany Hamilton thought her life was over when she lost her arm in a shark attack. Yet, despite this obstacle, Hamilton found the determination to continue surfing in her own creative style and proved to herself that the World Surfing Championships were still within reach.

In this true account, Hamilton chronicles the story of her life before and after the accident, inspiring readers to overcome obstacles by finding and focusing on an inner passion and determination. It's a wonderful story of faith, family, and courage. (Recommended for ages 12 and up.)

A movie version of ​​"Soul Surfer" was released in 2011. Hamilton has since written a number of inspirational books spun off from her original memoir.

The Bite of the Mango by Mariatu Kamara

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Brutally attacked by rebel soldiers who cut off both her hands, 12-year-old Mariatu Kamara from Sierra Leone miraculously survived and found her way to a refugee camp. When journalists arrived in her country to document the atrocities of war, Kamara was rescued. Her tale of survival as a victim of civil war to becoming a UNICEF Special Representative, "Bite of the Mango" (Annick Press, 2008) is an inspiring story of courage and triumph. (Due to mature themes and violence, this book is recommended for ages 14 and up.)

No Choirboy: Murder, Violence, and Teenagers on Death Row by Susan Kuklin

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In their own words, four young men sent to death row as teenagers speak candidly with author Susan Kuklin in the unflinching nonfiction book, "No Choirboy: Murder, Violence, and Teenagers on Death Row" (Henry Holt Books for Young Readers, 2008). The youthful offenders talk openly about the choices and mistakes they made, as well as about their lives in prison.

Written in the form of personal narratives, Kuklin includes commentary from lawyers, insights into legal issues, and the backstories leading up to each young man’s crime. It's a disturbing read, but it offers teens a perspective on crime, punishment, and the prison system from people their own age. (Due to mature subject matter, this book is recommended for ages 14 and up.)

I Can't Keep My Own Secrets: Six-Word Memoirs by Teens Famous and Obscure

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“He said goodbye with YouTube links.” What happens when you ask teens ranging from high-profile to just your average kid to summarize their hopes, dreams, and troubles in just six words? That's just what the editors of Smith Magazine challenged teenagers across the nation to do. The resulting collection, "I Can’t Keep My Own Secrets: Six-Word Memoirs by Teens Famous and Obscure" (HarperTeen, 2009), contains 800 six-word memoirs ranging in emotion from comical to profound. These fast-paced, intuitive takes on adolescent life, written for teens by teens, read like poetry and just might inspire others to think up their own six-word memoirs. (Recommended for ages 12 and up.)

Three Little Words by Ashley Rhodes-Courter

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Reminiscent of heart-tugging characters like Gilly Hopkins ("The Great Gilly Hopkins" by Katherine Paterson) and Dicey Tillerman ("The Tillerman Series" by Cynthia Voigt), the life of Ashley Rhodes-Courter is a series of real-life unfortunate events that are the everyday reality for too many children in America. In her memoir, "Three Little Words" (Atheneum, 2008), Rhodes-Courter recounts the 10 harrowing years she spent in the foster care system, poignantly giving voice to children trapped in circumstances beyond their control. (Recommended for ages 12 and up.)

A Long Way Gone: Memoirs of a Boy Soldier by Ishmael Beah

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In the early 1990s, 12-year-old Ishmael Beah was swept up in Sierra Leone’s civil war and turned into a boy soldier. Although gentle and kind at heart, Beah discovered he was capable of horrific acts of brutality. The first part of Beah’s memoir, "A Long Way Gone: Memoirs of a Boy Soldier" (Farrar, Straus & Giroux, 2008), depicts the frighteningly easy transformation of a typical child into an angry teen with the ability to hate, kill, and wield an AK-47. The final chapters of Beah’s story are about redemption, rehabilitation, and ultimately, coming to the United States, where he attended and graduated college. (Recommended for ages 14 and up.)

I Will Always Write Back: How One Letter Changed Two Lives by Caitlin Alifirenka and Martin Ganda

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"I Will Always Write Back: How One Letter Changed Two Lives" (Little, Brown Books for Young Readers, 2015) is a true-life tale that begins in 1997 when “typical 12-year-old American girl” Caitlin Alifirenka is tasked with a pen pal assignment at school. Her correspondence with a 14-year-old boy named Martin Ganda from Zimbabwe will eventually change both of their lives.

In the letters that go back and forth, readers learn that Alifirenka leads a life of middle-class privilege, while Ganda’s family lives in crushing poverty. Even something as simple as sending a letter is often beyond his means, and yet, Ganda makes “the only promise that I knew I could keep: that I would always write back, no matter what.”

The narrative takes the form of a dual pen-pal autobiography told in alternating voices and woven together with the help of writer Liz Welch. It covers the six-year period from Alifirenka's first letter to Ganda’s eventual arrival in America where he'll be attending college, thanks to a full scholarship arranged by Alifirenka's mom. Their inspiring long-distance friendship is a testament to just how much two determined teens can accomplish when they put their hearts and minds to it. (Recommended for ages 12 and up.)

I Am Malala: The Story of the Girl Who Stood Up for Education and Was Shot by the Taliban by Malala Yousafzai

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"I Am Malala: The Story of the Girl Who Stood Up for Education and Was Shot by the Taliba" written by Malala Yousafza and Christina Lamb (Little, Brown and Company, 2012) is the autobiography of a girl who more than anything, wanted to learn—and was nearly put to death for her efforts.

In October 2012, 15-year-old Yousafzai was shot in the head at point-blank range while riding the bus home from school in her native Pakistan. This memoir traces not only her remarkable recovery but the path that led her to become the youngest winner of the Nobel Peace Prize . It’s an account of a family touched first-hand by the brutality of terrorism, and the indomitable will of a girl who will not relinquish her education at any cost.

In a society dominated by males, it is also the heartening story of unconventional and courageous parents who bucked convention by encouraging their daughter to be all that she could be. Yousafzai's revelations are a bittersweet homage to all the remarkable accomplishments she’s achieved—and the price both she and her family have had to pay for her to achieve them. (Recommended for ages 12 and up.)

Rethinking Normal: A Memoir in Transition by Katie Rain-Hill and Ariel Schrag

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"Rethinking Normal: A Memoir in Transition" by Katie Rain-Hill and Ariel Schrag (Simon Schuster Books for Young Readers, 2014) is the story of a 19-year-old transgender teen who grew up as a boy, but always knew she was a girl. Bullied and suicidal, Rain-Hill finds the courage to follow her truth, and with her mom’s help, is able to transform both her body and her life.

This first-person memoir not only explores what it means to identify as transgender and what it takes undergo gender reassignment surgery but also gives a non-sugarcoated account of the challenges Rain-Hill faced once the body she was living in finally aligned with her gender identity.

It’s all told with self-deprecating humor and disarming candor that draws readers in, while at the same time, reinventing the standard teen coming-of-age tale and the meaning of what it is to be “normal.” (Recommended for ages 14 and up.)

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• Scriptwriting

What is a Memoir — Definition, Examples in Literature & Film

M ost movies tell a story with a beginning, middle, and end. Many of those narrative features tell the story of a single individual that can span a certain amount of time, ranging from a few days to a few decades. Some of those focused narrative movies are also memoirs, which can include original and adapted screenplays. But what is a memoir and how can you identify one?

Memoir Definition

Let's define memoir.

Autobiographies are fairly common and known quantities in the world of literature. Memoirs are, too, but they are not as broad as autobiographies tend to be. This is key to understanding a memoir vs autobiography and how they tell their stories, which we go over below in our memoir definition.

MEMOIR DEFINITION

What is a memoir.

A memoir is a non-fiction story set in the author’s past during a specific period of their life. The name “memoir” comes from “memorie/memoria/memory,” as memoirs are essentially reminiscences of the author. A memoir is told completely through the author’s point of view. This means that facts can be embellished, with an emphasis on feelings and emotions.

Memoir Characteristics:

• Narrative tales set in a character’s past
• Stories set during a short period of time (as opposed to a lifetime)
• A greater emphasis on feelings, emotions, and perspectives versus factual storytelling

Memoir Meaning

History with examples.

Writing memoirs used to be something only a privileged few were able to indulge in, as they had the time and money to sit around and reminisce. Julius Caesar’s Commentaries on the Gallic Wars and Commentaries on the Civil War are two very early memoir examples, with Caesar writing about the two respective wars, how they went, and his role in them.

While serving as memoirs, they also serve as historical records, which is something many other memoirs end up being. Thus, in these early examples, we can see both the personal and historical reasons for jotting down one’s specific memories.

As time went on, other people, be them important politicians or simply chroniclers of their era, were writing memoirs. Some of these included  Sarashina Nikki of the Japanese Heian period (8th to 12th century); there were also several European memoir examples from the Middle Ages to the Renaissance .

The 18th and 19th centuries brought us closer to what we could consider more modern examples of memoirs. While these centuries were full of memoirs written by privileged politicians or aristocrats, there was at least one that broke the mold a bit.

Henry David Thoreau’s  Walden  is one of the most popular and well-known memoir examples in literature. Focusing on the two years, two months, and two days the author spent in a cabin, the memoir has Thoreau cover many subjects. These include living on your own to identifying plant life around him, among many other things.

You can learn more about who Thoreau was in the video below.

What is a memoir  •  Henry David Thoreau's memoir meaning

As access to writing materials and typing increased, and as the world became a bit more modern, more “regular” memoirs started to pop up. This was especially true during some of our darkest times, specifically the two world wars. From these great wars came memoirs from soldiers, victims, and survivors, including those in the trenches of World War I or in the concentration camps of World War II.

Closer to the 21st century, memoirs became even bigger as normal everyday people began jotting down their memories. In many cases, these memories were to preserve the history of a person or their family, as they would otherwise be lost without being written down.

In other cases, memoirs have served as forms of expression from the individual writers, detailing events in their life and the impact it had.

Related Posts

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• The Best Book-to-Film Adaptations →
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Memoir Examples

Memoir vs. autobiography.

Reading the memoir definition, you may be wondering what exactly makes it different from an autobiography. Both are just chatting about yourself, right?

Both forms may indeed be chatting about oneself, but there is a difference between a memoir and an autobiography. A memoir is a look at a specific period from the writer’s life, or a sequence of specific periods that have thematic links. An autobiography, meanwhile, is the writer’s entire life (up until writing, of course).

Autobiographies also tend to be more rigorously fact-checked, while a memoir can be a bit more fast and loose with the facts as the writer weaves a story.

Of course, there are exceptions to this rule; sometimes an autobiography has some elements that aren’t totally truthful, but that’s usually frowned upon.

While they’re distinct in definition, the two terms occasionally overlap since their qualifications are a bit subjective.

Types of Memoirs

Because “memoir” is a pretty general term, there are many different ways the writing style can manifest. Over the years, a few categories for the genre have cropped up, though there are various schools of thought on the subject.

Personal Memoir

When you think of a memoir, this is probably the type that comes to mind. In this memoir, an author tackles a formative, personal experience from their life.

“I was small-boned and skinny, but more than able to make up for that with sheer meanness.”

— Mary Karr,  The Liar's Club

There’s no limit to what this experience could be, but examples may be meeting a first love, enduring an illness, or navigating a relationship with a parent.

Portrait Memoir

With a portrait memoir, the subject is someone other than the author. Of course, the memoir is still through the eyes of the author, and they probably play a big role in the narrative, but the real focus lies with someone else.

“My father had lost most of the sight in his right eye by the time he’d reached eighty-six, but otherwise he seemed in phenomenal health for a man his age when he came down with what the Florida doctor diagnosed, incorrectly, as Bell’s palsy…”

— Philip Roth,  Patrimony

This might be a parent (the amount of memoirs about parents, particularly complicated dads, could fill the Pacific Ocean), a best friend, a sibling, a teacher — really anyone who the author knows intimately. The film Aftersun loosely falls into the Complicated Dad subcategory of the portrait memoir.

Political Memoirs

This memoir is usually written by, you guessed it, politicians. It can be a personal memoir in form, but often with the larger goal of ingratiating themselves to the reader to get their vote or support their platform.

“Of all the rooms and halls and landmarks that make up the White House and its grounds, it was the West Colonnade that I loved best.”

— Barack Obama,  A Promised Land

Political memoirs can also be written by people who aren’t politicians but are trying to further a political goal, like an activist. Some political memoir examples: Che Guevara's The Motorcycle Diaries , Michelle Obama’s Becoming , or Tony Blair’s A Journey .

Public Memoir

This type of memoir is a bit similar to the political memoir because it’s written by a person who’s already famous. But the public memoir usually doesn’t have a political ax to grind (at least, that’s not a requirement), it’s just a memoir by someone who’s well-known. 

“Plainly, due to my high and solitary place in the world—am I not the Living Buddha (0r is that Richard Gere?)—and to my cold nature and to my refusal to conform to warm mature family values, I am doomed to be the eternal outsider…”

— Gore Vidal,  Palimpsest

This celebrity will write about being famous and hanging out with other famous people, and they’ll make the GDP of a small country in book sales.

Travel Memoir

People like traveling, but it’s expensive and usually exhausting. So sometimes, we prefer to read about someone else who’s spending the money and traveling around the world.

“When you’re traveling in India—especially through holy sites and Ashrams—you see a lot of people wearing beads around their necks.”

— Elizabeth Gilbert,  Eat, Pray, Love

A travel memoir can take a lot of different forms, but there’s one constant: the writer is moving around.

Writing Memoirs

How to write a memoir.

If these categories didn’t already make it clear, there’s no one way to write a memoir. It can be a straight-forward narrative or an avant-garde collection of scenes. But, hey, a few helpful tips can’t hurt.

You can learn a bit more about writing memoirs in the video below.

How to write a memoir

Know the “why”.

The most important question to ask yourself when you’re about to write the next great memoir is, “Why will people care about this?” If you don’t have a good answer, you may be writing a journal entry — which is totally fine; journaling is great and important in its own right.

But with a memoir, it’s crucial to have a greater purpose. This personal story may mean a lot to you (and if it doesn't, why are you writing it down at all?). But if someone doesn’t know you, why should they care that your sophomore year girlfriend broke up with you because she didn’t believe in your dream of becoming the premiere soft serve ice cream provider of Illinois?

There are many reasons a reader might care. Maybe your story in a larger sense is about young love and big dreams — we can all relate to that. Maybe the story is filled with drama: she broke up with you by pushing you into a vat of soft serve extract, and you spent months trying to get the solution out of your hair. Or maybe you’re the founder of Dairy Queen, and this is a glimpse into how it all started.

Beginning, Middle, End

It may seem obvious, but this fundamental rule of storytelling can be tricky when writing a memoir. The nature of a memoir means that there is going to be a story before and after the memoir ends.

My story goes something like this…

There’s no one way to find the beginning and end points of your memoir, but primarily, this should be rooted in the first piece of advice: have you achieved the “why”? If so, end it.

Don’t Get Stuck on Facts

This doesn’t mean lie. But if you feel the need to inform the reader of every detail of the story, it’s going to become a pretty dull read. It might all be true, but the “why” will have left the building.

Life doesn’t work in story arcs — things are messy, beginnings aren’t really beginnings and ends aren’t really ends. Of course, you want your memoir to reflect that to a certain extent, but you also want it to be readable. So omitting facts and cleaning up narrative elements (even if it’s not the complete and total truth) becomes crucial to the memoir style. The truth lies in the grand strokes, the emotions and characters.

Memoir Movies

Memoirs in cinema.

Memoirs have definitely been around longer than cinema, but movies about people and their lives (specifically biographies, aka biopics ) have been pretty common since the medium’s inception. Some of these movies could even count as memoir-esque, like Young Mr. Lincoln (1939), which, instead of chronicling Abraham Lincoln’s tenure as president (or his entire life), examines his time as a lawyer in the 1830s.

What is a memoir  •  Young Mr. Lincoln

So while there have been plenty of biographies, many of the most well-known movies based on memoirs have been fairly recent. One of the most high profile of these is Eat, Pray, Love , a 2006 memoir by Elizabeth Gilbert that turned into a 2010 movie starring Julia Roberts.

Eat, Pray, Love  •  A pinnacle in memoir movies

But even before that we had Girl, Interrupted , a 1993 memoir by Susanna Kaysen which made it into a film in 1999 starring Winona Ryder and Angelina Jolie. The opening lines of the film even retain the memoir feel.

Take a look at them below, with the script that we imported into StudioBinder’s screenwriting software .

Girl, Interrupted  •   Read the entire opening

The voiceover feels like Kaysen answering the “why do we care” question that we outlined in our tips section.

And then of course there was  The Basketball Diaries , a Jim Carroll memoir from 1978 that turned into a Leonardo DiCaprio movie in 1995. Here's the opening scene and credits.

Memoir movies  •  The Basketball Diaries

From 2009’s  Julie & Julia  (based on two separate memoirs) to  The Theory of Everything  2014’s (the Stephen Hawking memoir written by his wife Jane Hawking) to 2018’s  Beautiful Boy  (based on two memoirs about the same subject), there has been no shortage of memoir based films in the last two decades.

Memoir movies  •  The Theory of Everything

Some are more successful and acclaimed than others, but like novels, there are plenty out there for filmmakers to adapt. And don’t forget there are also movies based on true events that weren’t chronicled in memoirs before, so if you want to adapt a moment in your life as a script for a movie, go for it.

How to Write an Adaptation

Now that we have covered memoirs and movies based on memoirs, it’s time to look at how you might go about adapting one. We cover the step-by-step process of adapting a book for the screen, all with examples and even some quotes.

Up Next: Writing an Adaptation →

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Embed the video from Youtube and set it up, letting the reader know what to focus on in the video.

Scene Study: Tommy buys a dozen red roses

After the embed, set up the script tie-in. Call out what they should focus on and provide a good reason on why they should click the app tie-in. In many cases this would be to read the entire scene. In other cases, you could add something clever in the comments or script notes, or versions.

Also, since the app link opens a script at Scene 1, you'll want to let them know what scene number they should scroll down to.

Read the Flower  Shop Scene — Scroll to Scene XX  

Marshmallow pie sweet roll gummies candy icing. Marshmallow pie sweet roll gummies candy icing. I love candy canes soufflé I love jelly beans biscuit. Marshmallow pie sweet roll gummies candy icing.

Marshmallow pie sweet roll gummies candy icing. I love candy canes soufflé I love jelly beans biscuit. Marshmallow pie sweet roll gummies candy icing. 

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Setup the next logical script for this reader to review. Keep in mind the style, genre, and writer of the above script. For example, a Tarantino script should have an Up Next to another Tarantino script (ideally), or another pulp-y script (e.g.  Lock, Stock, and Two Smoking Barrels), or a similar genre, or dialogue-heavy script by another relevant auteur (e.g. PT Anderson).

Up Next: Article Name → 

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These are the 10 best memoirs and autobiographies to read now

Posted: 18 December 2023 | Last updated: 10 March 2024

Of course, there's no feeling quite like picking up a gripping new novel – but we'd recommend delving into some real-life stories as well as fictional tales. There is endless joy to be found, unimaginable sadness to be felt and never-ending inspiration to be discovered when reading about other people’s first-hand experiences.

We can find encouragement during hard times, motivation when our own runs dry , and company when we may have no one else. Biographies and memoirs allow us to experience the world in a different way, exposing us – often quite vitally – to new perspectives, and increasing our empathy for those with different backgrounds and viewpoints to our own. They can also offer comfort in the form of stories that ring true to our own experiences, acting as a reminder that we're not alone.

Whether you opt for a powerful account of what it feels like to transition under the glare of Hollywood's spotlights ( Elliot Page's Pageboy ), find comfort and direction in a book that will reconnect you to the natural world ( Katherine May's Enchantment ) or inspire yourself with Deborah Levy's part-memoir, part-feminist manifesto The Cost Of Living , these thought-provoking reads will stay with you long after you turn the last page. Here, we choose our favourites.

The top 10 memoirs and autobiographies to read now

1) Barbra Streisand, 'My Name is Barbra'

This exhilarating and startlingly honest autobiography of the legendary star is already a Sunday Times bestseller, thanks to its incredible depth, breadth and heart. Including outfit-by-outfit recalls of her onstage looks and analyses of her films, as well as details of her relationships with Pierre Trudeau, Omar Sharif and Marlon Brando, this long-awaited memoir tells Streisand's story in her own words, over a career spanning six decades. An essential read for any fan.

2) Matthew Perry, 'Friends, Lovers And The Big Terrible Thing'

In the wake of Matthew Perry's tragic death , his memoir feels a more important read than ever before. In it, the Friends actor takes us on a journey from childhood ambition to fame and addiction, then, recovery and stints in rehab. From his fractured family life to the peace he's found in sobriety, this is a life story told with unflinching honesty, as well as self-awareness, tenderness and Perry's trademark humour.

3) Deborah Levy, 'The Cost Of Living'

Following on from the critically acclaimed Things I Don't Want to Know , the powerful second book in Deborah Levy's essential three-part 'Living Autobiography' is part-memoir, part-feminist manifesto. In it, she writes about her recent divorce, which is supposed to signal a fresh start – yet the societal prejudice she faces as a single mother soon becomes clear. No one writes quite like Levy on what it is to be a woman, and this (as well as most of Levy's other work) is essential reading on the topics of personhood, feminism and finding yourself.

4) Helen Mort, 'A Line Above The Sky'

An unusual and touching memoir, Helen Mort reflects on climbing – and the risk-taking, freedom and connection to the natural world that comes with it – through the lens of motherhood. Even if you're likely never to go near a mountain with a pair of poles in hand, this is a thoughtful read that unpacks why we're drawn to danger, how we can find freedom in pushing our limits and the visceral joy in losing yourself physically – whether that's through sport, motherhood or something else entirely.

5) Elliot Page, 'Pageboy'

The acclaimed actor and noted trans activist reflects on gender, mental health and Hollywood in this important memoir. Charting the success of Juno and the pressure to perform, the nightmare of the red carpet and a job which seemed dead-set on forcing him into a binary, Page lays bare the intimate details of his life. Pageboy is an unflinching account of a life pushed to the brink, and what it means to untangle ourselves from the expectations of others – it's a must-read for anyone in the process of finding themselves.

6) Fern Brady, 'Strong Female Character'

Born autistic "with no presets for being a 'good' woman", Fern Brady wrote her groundbreaking memoir to tear down stereotypes about neurodiversity; along the way, she explores everything from class and its relation to mental health, to societal pressures, individual ambition and sexism. A story about how being female can get in the way of being 'the right sort' of autistic and being autistic can get in the way of being 'the right sort' of woman, this will educate you, entertain you and make you question your preconceived notions all at the same time.

7) Pamela Anderson, 'Love, Pamela'

Taking you on a journey from the 1990s' most famous cover girl to a devoted mother and activist, Pamela Anderson’s revealing and deeply personal memoir is the perfect portrait of her life, in and out of the spotlight. With chapters that detail her time on Baywatch and as a Playboy regular, as well as her early history growing up on Vancouver Island, this heartfelt autobiography gives a real and genuine snapshot of Anderson's life. So much has been written about Anderson, that it feels refreshing to have her tell her own story, in her own words.

8) Lemn Sissay, 'My Name Is Why'

Lemn Sissay recounts, analyses and unpicks 18 years' worth of records which document his time in the British care system in this moving memoir. Infused with his signature poetic beauty, this devastating story charts heartbreak and neglect, but also resilience and hope. Both inspiring and harrowing, it is a hugely important read about British authority and the care system.

9) Abi Morgan, 'This is Not a Pity Memoir'

Poignant and heartbreaking, but with a marked lack of sentimental platitudes (hence the arch title), Morgan's memoir about the tragic and sudden death of her partner is a powerful and perceptive tract on love, grief and hope. Far from just about the aftermath of death – the grief, the sadness and the healing – Morgan writes about love: what it feels like to meet 'your person' and what you wish you'd said to them while they could still hear you. Hopeful and full of anecdotes that will make you both laugh and cry, this is a new sort of love story that you'll want to recommend to everyone you meet.

10) Katherine May, 'Enchantment'

Katherine May took the world by storm with her book, Winter ing , which explored the importance of retreat and rest in difficult times. Now, she's back with Enchantment : a call to embrace the magic of the natural world as a life-affirming path to mental wellbeing and calm. May explains that the constant bad news cycle, social media and the aftermath of the pandemic have left us all feeling bone-tired and anxious; the antidote is to be more grounded, rested and at ease through a connection with nature. Part self-help, part memoir, this beautiful book is a gentle guide for anyone who feels directionless, burnt-out or out of tune with the world.

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