Writing in The Guardian, Caroline Sullivan describes the memoir as focused more on King's personal life and musical production than the fame that ensued: "[W]hat she pours her heart into are lengthy descriptions of home life with her husbands (there have been four) and four kids...Though she writes in detail about the making of Tapestry, she barely mentions its subsequent success.

Any record that spent a full six years in the Billboard chart is, at the least, a small cultural phenomenon.

I made clothes for everyone in the family, tended our small garden and occasionally went out for sushi lunch in Little Tokyo…'"[2]At the same time that the book dwells more on these private details rather than her public life, Helen Brown, writing in The Telegraph, found King's text "gently protective of the fascinating, but often destructive, people in King's life...Relentlessly empathetic, King hasn’t a bad word to say about anybody," even when describing marriages affected by a husband's drug use, mental illness, infidelity or domestic violence.

[3] Several reviewers remarked on this characteristic of the book: Sullivan found A Natural Woman described "someone, you fancy, who would remember your birthday and return your calls" and notes this kindness and conscientiousness reflected in the book's prose: "And she writes that way, constructing sentences correctly, telling anecdotes with scrupulous attention to detail (avoiding drugs in the 60s had its benefits – she can actually remember the decade) and fretting maternally about family and friends.

However, in The Los Angeles Times, Evelyn McDonnell found King's memoir, if "sometimes, determinedly unglamorous", "far more original" than "the usual celebrity story of hardship, riches, overindulgence, downfall and rehab.