How to Read Like a Writerby Mike Bunn
This essay is a chapter in Writing Spaces: Readings on Writing, Volume 2, a peer-reviewed open textbook series for the writing classroom.
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How to Read Like a Writer
Mike Bunn
In 1997, I was a recent college graduate living in London for six months and working at the Palace Theatre owned by Andrew Lloyd Webber.* The Palace was a beautiful red brick, four-story theatre in the heart of London’s famous West End, and eight times a week it housed a three-hour performance of the musical Les Miserables. Because of antiquated fire-safety laws, every theatre in the city was required to have a certain number of staff members inside watching the performance in case of an emergency.
My job (in addition to wearing a red tuxedo jacket) was to sit inside the dark theater with the patrons and make sure nothing went wrong. It didn’t seem to matter to my supervisor that I had no training in se-curity and no idea where we kept the fire extinguishers. I was pretty sure that if there was any trouble I’d be running down the back stairs, leaving the patrons to fend for themselves. I had no intention of dying in a bright red tuxedo.
There was a Red Coat stationed on each of the theater’s four floors, and we all passed the time by sitting quietly in the back, reading books with tiny flashlights. It’s not easy trying to read in the dim light of a theatre—flashlight or no flashlight—and it’s even tougher with shrieks and shouts and gunshots coming from the stage. I had to focus intently on each and every word, often rereading a single sentence sev-eral times. Sometimes I got distracted and had to re-read entire para-
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graphs. As I struggled to read in this environment, I began to realize that the way I was reading—one word at a time—was exactly the same way that the author had written the text. I realized writing is a word-by-word, sentence-by-sentence process. The intense concentra-tion required to read in the theater helped me recognize some of the interesting ways that authors string words into phrases into paragraphs into entire books.
I came to realize that all writing consists of a series of choices.I was an English major in college, but I don’t think I ever thought
much about reading. I read all the time. I read for my classes and on the computer and sometimes for fun, but I never really thought about the important connections between reading and writing, and how reading in a particular way could also make me a better writer.
What Does It Mean to Read Like a Writer?
When you Read Like a Writer (RLW) you work to identify some of the choices the author made so that you can better understand how such choices might arise in your own writing. The idea is to carefully examine the things you read, looking at the writerly techniques in the text in order to decide if you might want to adopt similar (or the same) techniques in your writing.
You are reading to learn about writing.Instead of reading for content or to better understand the ideas in
the writing (which you will automatically do to some degree anyway), you are trying to understand how the piece of writing was put together by the author and what you can learn about writing by reading a par-ticular text. As you read in this way, you think about how the choices the author made and the techniques that he/she used are influencing your own responses as a reader. What is it about the way this text is written that makes you feel and respond the way you do?
The goal as you read like a writer is to locate what you believe are the most important writerly choices represented in the text—choices as large as the overall structure or as small as a single word used only once—to consider the effect of those choices on potential readers (in-cluding yourself). Then you can go one step further and imagine what different choices the author might have made instead, and what effect those different choices would have on readers.
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Say you’re reading an essay in class that begins with a short quote from President Barack Obama about the war in Iraq. As a writer, what do you think of this technique? Do you think it is effective to begin the essay with a quote? What if the essay began with a quote from someone else? What if it was a much longer quote from President Obama, or a quote from the President about something other than the war?
And here is where we get to the most important part: Would you want to try this technique in your own writing?
Would you want to start your own essay with a quote? Do you think it would be effective to begin your essay with a quote from Presi-dent Obama? What about a quote from someone else?
You could make yourself a list. What are the advantages and dis-advantages of starting with a quote? What about the advantages and disadvantages of starting with a quote from the President? How would other readers respond to this technique? Would certain readers (say Democrats or liberals) appreciate an essay that started with a quote from President Obama better than other readers (say Republicans or conservatives)? What would be the advantages and disadvantages of starting with a quote from a less divisive person? What about starting with a quote from someone more divisive?
The goal is to carefully consider the choices the author made and the techniques that he or she used, and then decide whether you want to make those same choices or use those same techniques in your own writing. Author and professor Wendy Bishop explains how her reading process changed when she began to read like a writer:
It wasn’t until I claimed the sentence as my area of desire, interest, and expertise—until I wanted to be a writer writing better—that I had to look underneath my initial readings . . . I started asking, how—how did the writer get me to feel, how did the writer say something so that it remains in my memory when many other things too easily fall out, how did the writer communicate his/her intentions about genre, about irony? (119–20)
Bishop moved from simply reporting her personal reactions to the things she read to attempting to uncover how the author led her (and other readers) to have those reactions. This effort to uncover how au-thors build texts is what makes Reading Like a Writer so useful for student writers.
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How Is RLW Different from “Normal” Reading?
Most of the time we read for information. We read a recipe to learn how to bake lasagna. We read the sports page to see if our school won the game, Facebook to see who has commented on our status update, a history book to learn about the Vietnam War, and the syllabus to see when the next writing assignment is due. Reading Like a Writer asks for something very different.
In 1940, a famous poet and critic named Allen Tate discussed two different ways of reading:
There are many ways to read, but generally speaking there are two ways. They correspond to the two ways in which we may be interested in a piece of architecture. If the building has Co-rinthian columns, we can trace the origin and development of Corinthian columns; we are interested as historians. But if we are interested as architects, we may or may not know about the history of the Corinthian style; we must, however, know all about the construction of the building, down to the last nail or peg in the beams. We have got to know this if we are going to put up buildings ourselves. (506)
While I don’t know anything about Corinthian columns (and doubt that I will ever want to know anything about Corinthian columns), Allen Tate’s metaphor of reading as if you were an architect is a great way to think about RLW. When you read like a writer, you are trying to figure out how the text you are reading was constructed so that you learn how to “build” one for yourself. Author David Jauss makes a similar comparison when he writes that “reading won’t help you much unless you learn to read like a writer. You must look at a book the way a carpenter looks at a house someone else built, examining the details in order to see how it was made” (64).
Perhaps I should change the name and call this Reading Like an Architect, or Reading Like a Carpenter. In a way those names make perfect sense. You are reading to see how something was constructed so that you can construct something similar yourself.
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Why Learn to Read Like a Writer?
For most college students RLW is a new way to read, and it can be dif-ficult to learn at first. Making things even more difficult is that your college writing instructor may expect you to read this way for class but never actually teach you how to do it. He or she may not even tell you that you’re supposed to read this way. This is because most writing instructors are so focused on teaching writing that they forget to show students how they want them to read.
That’s what this essay is for.In addition to the fact that your college writing instructor may
expect you to read like a writer, this kind of reading is also one of the very best ways to learn how to write well. Reading like a writer can help you understand how the process of writing is a series of making choices, and in doing so, can help you recognize important decisions you might face and techniques you might want to use when working on your own writing. Reading this way becomes an opportunity to think and learn about writing.
Charles Moran, a professor of English at the University of Massa-chusetts, urges us to read like writers because:
When we read like writers we understand and participate in the writing. We see the choices the writer has made, and we see how the writer has coped with the consequences of those choices . . . We “see” what the writer is doing because we read as writers; we see because we have written ourselves and know the territory, know the feel of it, know some of the moves our-selves. (61)
You are already an author, and that means you have a built-in advan-tage when reading like a writer. All of your previous writing experi-ences—inside the classroom and out—can contribute to your success with RLW. Because you “have written” things yourself, just as Moran suggests, you are better able to “see” the choices that the author is making in the texts that you read. This in turn helps you to think about whether you want to make some of those same choices in your own writing, and what the consequences might be for your readers if you do.
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What Are Some Questions to Ask Before You Start Reading?
As I sat down to work on this essay, I contacted a few of my former stu-dents to ask what advice they would give to college students regarding how to read effectively in the writing classroom and also to get their thoughts on RLW. Throughout the rest of the essay I’d like to share some of their insights and suggestions; after all, who is better qualified to help you learn what you need to know about reading in college writ-ing courses than students who recently took those courses themselves?
One of the things that several students mentioned to do first, be-fore you even start reading, is to consider the context surrounding both the assignment and the text you’re reading. As one former student, Alison, states: “The reading I did in college asked me to go above and beyond, not only in breadth of subject matter, but in depth, with re-gards to informed analysis and background information on context.” Alison was asked to think about some of the factors that went into the creation of the text, as well as some of the factors influencing her own experience of reading—taken together these constitute the context of reading. Another former student, Jamie, suggests that students “learn about the historical context of the writings” they will read for class. Writing professor Richard Straub puts it this way: “You’re not going to just read a text. You’re going to read a text within a certain context, a set of circumstances . . . It’s one kind of writing or another, designed for one audience and purpose or another” (138).
Among the contextual factors you’ll want to consider before you even start reading are:
• Do you know the author’s purpose for this piece of writing? • Do you know who the intended audience is for this piece of
writing?
It may be that you need to start reading before you can answer these first two questions, but it’s worth trying to answer them before you start. For example, if you know at the outset that the author is try-ing to reach a very specific group of readers, then his or her writerly techniques may seem more or less effective than if he/she was trying to reach a more general audience. Similarly—returning to our earlier example of beginning an essay with a quote from President Obama
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about the war in Iraq—if you know that the author’s purpose is to address some of the dangers and drawbacks of warfare, this may be a very effective opening. If the purpose is to encourage Americans to wear sunscreen while at the beach this opening makes no sense at all. One former student, Lola, explained that most of her reading assign-ments in college writing classes were designed “to provoke analysis and criticisms into the style, structure, and purpose of the writing itself.”
In What Genre Is This Written?
Another important thing to consider before reading is the genre of the text. Genre means a few different things in college English classes, but it’s most often used to indicate the type of writing: a poem, a newspa-per article, an essay, a short story, a novel, a legal brief, an instruction manual, etc. Because the conventions for each genre can be very differ-ent (who ever heard of a 900-page newspaper article?), techniques that are effective for one genre may not work well in another. Many readers expect poems and pop songs to rhyme, for example, but might react negatively to a legal brief or instruction manual that did so.
Another former student, Mike, comments on how important the genre of the text can be for reading:
I think a lot of the way I read, of course, depends on the type of text I’m reading. If I’m reading philosophy, I always look for signaling words (however, therefore, furthermore, despite) indicating the direction of the argument . . . when I read fic-tion or creative nonfiction, I look for how the author inserts dialogue or character sketches within narration or environ-mental observation. After reading To the Lighthouse [sic] last semester, I have noticed how much more attentive I’ve become to the types of narration (omniscient, impersonal, psychologi-cal, realistic, etc.), and how these different approaches are uti-lized to achieve an author’s overall effect.
Although Mike specifically mentions what he looked for while reading a published novel, one of the great things about RLW is that it can be used equally well with either published or student-produced writing.
Is This a Published or a Student-Produced Piece of Writing?
As you read both kinds of texts you can locate the choices the author made and imagine the different decisions that he/she might have made.
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While it might seem a little weird at first to imagine how published texts could be written differently—after all, they were good enough to be published—remember that all writing can be improved. Scholar Nancy Walker believes that it’s important for students to read pub-lished work using RLW because “the work ceases to be a mere artifact, a stone tablet, and becomes instead a living utterance with immediacy and texture. It could have been better or worse than it is had the author made different choices” (36). As Walker suggests, it’s worth thinking about how the published text would be different—maybe even bet-ter—if the author had made different choices in the writing because you may be faced with similar choices in your own work.
Is This the Kind of Writing You Will Be Assigned to Write Yourself?
Knowing ahead of time what kind of writing assignments you will be asked to complete can really help you to read like a writer. It’s prob-ably impossible (and definitely too time consuming) to identify all of the choices the author made and all techniques an author used, so it’s important to prioritize while reading. Knowing what you’ll be writing yourself can help you prioritize. It may be the case that your instruc-tor has assigned the text you’re reading to serve as model for the kind of writing you’ll be doing later. Jessie, a former student, writes, “In college writing classes, we knew we were reading for a purpose—to influence or inspire our own work. The reading that I have done in college writing courses has always been really specific to a certain type of writing, and it allows me to focus and experiment on that specific style in depth and without distraction.”
If the text you’re reading is a model of a particular style of writ-ing—for example, highly-emotional or humorous—RLW is particu-larly helpful because you can look at a piece you’re reading and think about whether you want to adopt a similar style in your own writing. You might realize that the author is trying to arouse sympathy in read-ers and examine what techniques he/she uses to do this; then you can decide whether these techniques might work well in your own writing. You might notice that the author keeps including jokes or funny sto-ries and think about whether you want to include them in your writ-ing—what would the impact be on your potential readers?
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What Are Questions to Ask As You Are Reading?
It is helpful to continue to ask yourself questions as you read like a writer. As you’re first learning to read in this new way, you may want to have a set of questions written or typed out in front of you that you can refer to while reading. Eventually—after plenty of practice—you will start to ask certain questions and locate certain things in the text almost automatically. Remember, for most students this is a new way of reading, and you’ll have to train yourself to do it well. Also keep in mind that you’re reading to understand how the text was written—how the house was built—more than you’re trying to determine the meaning of the things you read or assess whether the texts are good or bad.
First, return to two of the same questions I suggested that you consider before reading:
• What is the author’s purpose for this piece of writing? • Who is the intended audience?
Think about these two questions again as you read. It may be that you couldn’t really answer them before, or that your ideas will change while reading. Knowing why the piece was written and who it’s for can help explain why the author might have made certain choices or used particular techniques in the writing, and you can assess those choices and techniques based in part on how effective they are in fulfilling that purpose and/or reaching the intended audience.
Beyond these initial two questions, there is an almost endless list of questions you might ask regarding writing choices and techniques. Here are some of the questions that one former student, Clare, asks herself:
When reading I tend to be asking myself a million questions. If I were writing this, where would I go with the story? If the author goes in a different direction (as they so often do) from what I am thinking, I will ask myself, why did they do this? What are they telling me?
Clare tries to figure out why the author might have made a move in the writing that she hadn’t anticipated, but even more importantly, she asks herself what she would do if she were the author. Reading the
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text becomes an opportunity for Clare to think about her own role as an author.
Here are some additional examples of the kinds of questions you might ask yourself as you read:
• How effective is the language the author uses? Is it too formal? Too informal? Perfectly appropriate?
Depending on the subject matter and the intended audience, it may make sense to be more or less formal in terms of language. As you begin reading, you can ask yourself whether the word choice and tone/language of the writing seem appropriate.
• What kinds of evidence does the author use to support his/her claims? Does he/she use statistics? Quotes from famous people? Personal anecdotes or personal stories? Does he/she cite books or articles?
• How appropriate or effective is this evidence? Would a dif-ferent type of evidence, or some combination of evidence, be more effective?
To some extent the kinds of questions you ask should be deter-mined by the genre of writing you are reading. For example, it’s prob-ably worth examining the evidence that the author uses to support his/her claims if you’re reading an opinion column, but less important if you’re reading a short story. An opinion column is often intended to convince readers of something, so the kinds of evidence used are often very important. A short story may be intended to convince readers of something, sometimes, but probably not in the same way. A short story rarely includes claims or evidence in the way that we usually think about them.
• Are there places in the writing that you find confusing? What about the writing in those places makes it unclear or confusing?
It’s pretty normal to get confused in places while reading, especially while reading for class, so it can be helpful to look closely at the writ-ing to try and get a sense of exactly what tripped you up. This way you can learn to avoid those same problems in your own writing.
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• How does the author move from one idea to another in the writing? Are the transitions between the ideas effective? How else might he/she have transitioned between ideas instead?
Notice that in these questions I am encouraging you to question whether aspects of the writing are appropriate and effective in addition to deciding whether you liked or disliked them. You want to imagine how other readers might respond to the writing and the techniques you’ve identified. Deciding whether you liked or disliked something is only about you; considering whether a technique is appropriate or effective lets you contemplate what the author might have been trying to do and to decide whether a majority of readers would find the move successful. This is important because it’s the same thing you should be thinking about while you are writing: how will readers respond to this technique I am using, to this sentence, to this word? As you read, ask yourself what the author is doing at each step of the way, and then consider whether the same choice or technique might work in your own writing.
What Should You Be Writing As You Are Reading?
The most common suggestion made by former students—mentioned by every single one of them—was to mark up the text, make com-ments in the margins, and write yourself notes and summaries both during and after reading. Often the notes students took while reading became ideas or material for the students to use in their own papers. It’s important to read with a pen or highlighter in your hand so that you can mark—right on the text—all those spots where you identify an interesting choice the author has made or a writerly technique you might want to use. One thing that I like to do is to highlight and underline the passage in the text itself, and then try to answer the fol-lowing three questions on my notepad:
• What is the technique the author is using here? • Is this technique effective? • What would be the advantages and disadvantages if I tried this
same technique in my writing?
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By utilizing this same process of highlighting and note taking, you’ll end up with a useful list of specific techniques to have at your disposal when it comes time to begin your own writing.
What Does RLW Look Like in Action?
Let’s go back to the opening paragraph of this essay and spend some time reading like writers as a way to get more comfortable with the process:
In 1997, I was a recent college graduate living in London for six months and working at the Palace Theatre owned by Andrew Lloyd Webber. The Palace was a beautiful red brick, four-story theatre in the heart of London’s famous West End, and eight times a week it housed a three-hour performance of the musical Les Miserables. Because of antiquated fire-safety laws, every theatre in the city was required to have a certain number of staff members inside watching the performance in case of an emergency.
Let’s begin with those questions I encouraged you to try to answer before you start reading. (I realize we’re cheating a little bit in this case since you’ve already read most of this essay, but this is just practice. When doing this on your own, you should attempt to answer these questions before reading, and then return to them as you read to fur-ther develop your answers.)
• Do you know the author’s purpose for this piece of writing? I hope the purpose is clear by now; if it isn’t, I’m doing a pretty lousy job of explaining how and why you might read like a writer.
• Do you know who the intended audience is? Again, I hope that you know this one by now.
• What about the genre? Is this an essay? An article? What would you call it?
• You know that it’s published and not student writing. How does this influence your expectations for what you will read?
• Are you going to be asked to write something like this yourself? Probably not in your college writing class, but you can still use RLW to learn about writerly techniques that you might want to use in whatever you do end up writing.
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Now ask yourself questions as you read.
In 1997, I was a recent college graduate living in London for six months and working at the Palace Theatre owned by Andrew Lloyd Webber. The Palace was a beautiful red brick, four-sto-ry theatre in the heart of London’s famous West End, and eight times a week it housed a three-hour performance of the musi-cal Les Miserables. Because of antiquated fire-safety laws, every theatre in the city was required to have a certain number of staff members inside watching the performance in case of an emer-gency.
Since this paragraph is the very first one, it makes sense to think about how it introduces readers to the essay. What technique(s) does the au-thor use to begin the text? This is a personal story about his time work-ing in London. What else do you notice as you read over this passage? Is the passage vague or specific about where he worked? You know that the author worked in a famous part of London in a beautiful theater owned by a well-known composer. Are these details important? How different would this opening be if instead I had written:
In 1997, I was living in London and working at a theatre that showed Les Miserables.
This is certainly shorter, and some of you may prefer this version. It’s quick. To the point. But what (if anything) is lost by eliminating so much of the detail? I chose to include each of the details that the re-vised sentence omits, so it’s worth considering why. Why did I men-tion where the theater was located? Why did I explain that I was living in London right after finishing college? Does it matter that it was after college? What effect might I have hoped the inclusion of these details would have on readers? Is this reference to college an attempt to con-nect with my audience of college students? Am I trying to establish my credibility as an author by announcing that I went to college? Why might I want the readers to know that this was a theater owned by Andrew Lloyd Weber? Do you think I am just trying to mention a famous name that readers will recognize? Will Andrew Lloyd Weber figure prominently in the rest of the essay?
These are all reasonable questions to ask. They are not necessarily the right questions to ask because there are no right questions. They
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certainly aren’t the only questions you could ask, either. The goal is to train yourself to formulate questions as you read based on whatever you notice in the text. Your own reactions to what you’re reading will help determine the kinds of questions to ask.
Now take a broader perspective. I begin this essay—an essay about reading—by talking about my job in a theater in London. Why? Doesn’t this seem like an odd way to begin an essay about reading? If you read on a little further (feel free to scan back up at the top of this essay) you learn in the third full paragraph what the connection is between working in the theater and reading like a writer, but why include this information at all? What does this story add to the essay? Is it worth the space it takes up?
Think about what effect presenting this personal information might have on readers. Does it make it feel like a real person, some “ordinary guy,” is talking to you? Does it draw you into the essay and make you want to keep reading?
What about the language I use? Is it formal or more informal? This is a time when you can really narrow your focus and look at particular words:
Because of antiquated fire-safety laws, every theatre in the city was required to have a certain number of staff members inside watching the performance in case of an emergency.
What is the effect of using the word “antiquated” to describe the fire-safety laws? It certainly projects a negative impression; if the laws are described as antiquated it means I view them as old-fashioned or obso-lete. This is a fairly uncommon word, so it stands out, drawing atten-tion to my choice in using it. The word also sounds quite formal. Am I formal in the rest of this sentence?
I use the word “performance” when I just as easily could have writ-ten “show.” For that matter, I could have written “old” instead of “an-tiquated.” You can proceed like this throughout the sentence, thinking about alternative choices I could have made and what the effect would be. Instead of “staff members” I could have written “employees” or just “workers.” Notice the difference if the sentence had been written:
Because of old fire-safety laws, every theatre in the city was re-quired to have a certain number of workers inside watching the show in case of an emergency.
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Which version is more likely to appeal to readers? You can try to an-swer this question by thinking about the advantages and disadvan-tages of using formal language. When would you want to use formal language in your writing and when would it make more sense to be more conversational?
As you can see from discussing just this one paragraph, you could ask questions about the text forever. Luckily, you don’t have to. As you continue reading like a writer, you’ll learn to notice techniques that seem new and pay less attention to the ones you’ve thought about before. The more you practice the quicker the process becomes until you’re reading like a writer almost automatically.
I want to end this essay by sharing one more set of comments by my former student, Lola, this time about what it means to her to read like a writer:
Reading as a writer would compel me to question what might have brought the author to make these decisions, and then de-cide what worked and what didn’t. What could have made that chapter better or easier to understand? How can I make sure I include some of the good attributes of this writing style into my own? How can I take aspects that I feel the writer failed at and make sure not to make the same mistakes in my writing?
Questioning why the author made certain decisions. Considering what techniques could have made the text better. Deciding how to include the best attributes of what you read in your own writing. This is what Reading Like a Writer is all about.
Are you ready to start reading?
Discussion
1. How is “Reading Like a Writer” similar to and/or different from the way(s) you read for other classes?
2. What kinds of choices do you make as a writer that readers might identify in your written work?
3. Is there anything you notice in this essay that you might like to try in your own writing? What is that technique or strategy? When do you plan to try using it?
4. What are some of the different ways that you can learn about the context of a text before you begin reading it?
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Works Cited
Bishop, Wendy. “Reading, Stealing, and Writing Like a Writer.” Elements of Alternate Style: Essays on Writing and Revision. Ed. Wendy Bishop. Ports-mouth, NH: Boynton/Cook, 1997. Print.
Jauss, David. “Articles of Faith.” Creative Writing in America: Theory and Pedagogy. Ed. Joseph Moxley. Urbana, IL: NCTE, 1989. Print.
Moran, Charles. “Reading Like a Writer.” Vital Signs 1. Ed. James L. Collins. Portsmouth, NH: Boynton/Cook, 1990. Print.
Straub, Richard. “Responding—Really Responding—to Other Students’ Writing.” The Subject is Reading. Ed. Wendy Bishop. Portsmouth, NH: Boynton/Cook, 2000. Print.
Tate, Allen. “We Read as Writers.” Princeton Alumni Weekly 40 (March 8, 1940): 505- 506. Print.
Walker, Nancy. “The Student Reader as Writer.” ADE Bulletin 106 (1993) 35–37. Print.
