Autobiographical Work: How do we tell our stories?

In April, Articulate ran a series of writing workshops where young people discussed and practiced personal storytelling, exploring how to confidently, compassionately and powerfully share lived experience.

These workshops were run by Nicola McCartney and Rosie Reid. Nicola is a playwright, director, screenwriter and applied theatre maker with over 30 years’ experience. She works collaboratively with communities in the UK and internationally and is currently Lead Artist on National Theatre Scotland’s Caring Scotland project.

Rosie is a Quality Teaching Artist at Articulate with a background in co‑creating art with diverse communities. As a theatre maker and director, she focuses on social injustice and creating work rooted in lived experience.

Why do we tell our stories?

There are many reasons we might choose to do autobiographical work. We found that the young people in the session all had different motivations. One felt that they wanted to help others, make them feel less alone. Another wanted to share a type of story that doesn’t get visibility very often, to educate people on the realities of it. And a third participant shared that the primary reason was to heal, that without expressing what had happened, healing was not possible. 

We also spoke about the judgements people can make when you write for yourself, the linking of autobiography to vanity. It’s a label that can put people off before they’ve begun. But no one should deprive themselves of a creative outlet and tool for processing complex memories because of other peoples’ assumptions.

How do we keep ourselves safe and well?

When dealing with our own vulnerable moments, it’s important to prioritise wellbeing. The sessions provided tools for engaging in self-storytelling in a safe way. In session 1, Nicola introduced a metaphor that asked, ‘What would you do if a stranger came up to you on the street and asked for all of your money?’ We then spoke about how we can think of our stories like currency - it’s precious to you, and not something that you give away to anyone who asks. Sharing should always be on your own terms. Nicola also shared some regulation exercises for when things get tough or triggering, and emphasised the value of things like mental health first aid for facilitators.

What is the process?

Writing is more than putting pen to paper. Before anything was written down, the workshops explored exercises that involved looking at our stories from multiple angles, increasing understanding and sparking ideas. Here are some of the dimensions we explored in autobiographical writing.

Listening

Paired up, each person shared a personal story with their partner, who then retold it as if it was their own. This was challenging, but had a huge impact and brought the group closer together. One participant said it was the first time they felt ‘properly heard’. 

Structure

Nicola taught the group about story structure: goals, obstacles and turning points. This progressed into a discussion on different barriers characters face on the way to their goals: internal, interpersonal, social and systemic. This clicked instantly, with participants recognising how these barriers show up in the media they watch, and their own lives.

Metaphor and fantasy

Rosie showed examples from theatre that demonstrated how we can use imagery, metaphor and even fantasy to create distance and anonymity. This was a breakthrough for C, who is writing a book and found approaching some moments tough. “It lifts the weight from my shoulders,” he said, realising he didn’t have to write everything literally.

Another way we practiced distancing was by using inanimate objects to stand in for the characters in our stories, and practicing using third person. Everyone chose a toy out of a bucket - a duck, a knight, Mrs Pig, Spiderman, a queen - and used them to map out a character’s journey. For some, this even became inspiration for metaphor; N imagined how her queen figurine’s crown could fall from her head, as a dramatic representation of the story’s themes.

Using objects in this way helped people step back from the rawness of their memories and see their experiences with a little more clarity and creative freedom.

Multi-sensory engagement

To produce the final short piece of writing from each participant, the starting point was music. Young people were asked to choose a song that evoked strong memories. Then, they worked 1-1 with a facilitator to revisit that moment and think about everything surrounding it - sights, sounds, smells, tastes and what they were thinking and feeling. Reading the pieces aloud at the end of the session was extremely powerful to listen to and empowering for the writers, bringing the room together in a moment of shared courage and connection.

What was the impact?

Reflecting on the workshops, the impact shone through in the words of the participants and facilitators.

"It would be my dream to finish the book by July this year… and a stage play in the next five years." - C

"Coming to this has been an incredible journey because I learned so much. I want to use my body to release stuck energy — something expressive like drama could help my healing." - N

"This chance is huge for me because English is my second language. I hope someday I find myself — someone who can deliver my sound everywhere.” - D

“Your generosity towards each other, and towards yourselves, is what made the sessions work." - Nicola

“I’m inspired as a theatre maker by the potential that people might want to share their stories on stage.” - Rosie

"It’s been beautiful to witness your stories and the different ways you’re choosing to tell them." - Cat (Emerging Teaching Artist)