According to Philippe Lejeune’s “autobiographical pact,” a text can only be considered an autobiography when the author, narrator, and character all share the same proper name. Any exceptions are thusly designated as works of fiction, regardless of whatever biographical resemblance may be detected between the author and character. This thesis aims not to challenge this useful generic distinction, but to develop an authoritative system for approaching the oft-neglected side of the equation: works of autobiographical fiction, and autobiographical dramas in particular. I propose to develop a reception-based methodology (the Biographical Grid) for assessing author-character resemblance with as much empiricism as possible. This is done by extracting the author’s biographical material in relation to the chosen fictional character (often the play’s protagonist) via their characterization within the text, and organizing this material within a specially-designed table. Each of these units is then assigned a numerical score based upon its correspondence with the author’s publicly-known biographical data. The result is not only a qualitative value assigned to the degree of resemblance between the character and its author, but moreover indicates precisely which character traits enforce the autobiographical kinship, and which represent conscious deviations from the biographical record as part of the process of fictionalization. This information can then be applied to well-informed analyses of the text’s use of its autobiographically-inspired content. Using Tolstoy’s play, The Light Shines in Darkness, as a case study, I demonstrate the process of building, testing, and applying the grid to assess a work of autobiographical drama. My systematic approach to autobiographical dramas of this kind supports the development of further research into methods of biographical criticism while strengthening analytical readings of individual plays.