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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 particular 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鈥攃hoices as large as the overall structure or as small as a single word used only once鈥攖o consider the effect of those choices on potential readers (including 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.

Say you鈥檙e 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 President Obama? What about a quote from someone else?

You could make yourself a list. What are the advantages and disadvantages 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鈥檛 until I claimed the sentence as my area of desire, interest, and expertise鈥攗ntil I wanted to be a writer writing better鈥攖hat I had to look underneath my initial readings. . . I started asking, how鈥�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鈥�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 authors build texts is what makes Reading Like a Writer so useful for student writers.

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 Corinthian 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鈥檛 know anything about Corinthian columns (and doubt that I will ever want to know anything about Corinthian columns), Allen Tate鈥檚 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 鈥渂uild鈥� one for yourself. Author David Jauss makes a similar comparison when he writes that 鈥渞eading won鈥檛 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鈥� (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.

For most college students RLW is a new way to read, and it can be difficult 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鈥檙e 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鈥檚 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 Massachusetts, 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 鈥渟ee鈥� 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 advantage when reading like a writer. All of your previous writing experiences鈥攊nside the classroom and out鈥攃an contribute to your success with RLW. Because you 鈥渉ave written鈥� things yourself, just as Moran suggests, you are better able to 鈥渟ee鈥� 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.

As I sat down to work on this essay, I contacted a few of my former students 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鈥檇 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 writing courses than students who recently took those courses themselves? 

One of the things that several students mentioned to do first, before you even start reading, is to consider the context surrounding both the assignment and the text you鈥檙e reading. As one former student, Alison, states: 鈥淭he reading I did in college asked me to go above and beyond, not only in breadth of subject matter, but in depth, with regards to informed analysis and background information on context.鈥� 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鈥攖aken together these constitute the context of reading. Another former student, Jamie, suggests that students 鈥渓earn about the historical context of the writings鈥� they will read for class. Writing professor Richard Straub puts it this way: 鈥淵ou鈥檙e not going to just read a text. You鈥檙e going to read a text within a certain context, a set of circumstances . . . It鈥檚 one kind of writing or another, designed for one audience and purpose or another鈥� (138).

Among the contextual factors you鈥檒l want to consider before you even start reading are:

• Do you know the author鈥檚 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鈥檚 worth trying to answer them before you start. For example, if you know at the outset that the author is trying 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鈥攔eturning to our earlier example of beginning an essay with a quote from President Obama about the war in Iraq鈥攊f you know that the author鈥檚 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 assignments in college writing classes were designed 鈥渢o provoke analysis and criticisms into the style, structure, and purpose of the writing itself.鈥�

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鈥檚 most often used to indicate the type of writing: a poem, a newspaper article, an essay, a short story, a novel, a legal brief, an instruction manual, etc. Because the conventions for each genre can be very different (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鈥檓 reading. If I鈥檓 reading philosophy, I always look for signaling words (however, therefore, furthermore, despite) indicating the direction of the argument . . . when I read fiction 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鈥檝e become to the types of narration (omniscient, impersonal, psychological, realistic, etc.), and how these different approaches are utilized to achieve an author鈥檚 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. While it might seem a little weird at first to imagine how published texts could be written differently鈥攁fter all, they were good enough to be published鈥攔emember that all writing can be improved. Scholar Nancy Walker believes that it鈥檚 important for students to read pub- lished work using RLW because 鈥渢he 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鈥� (36). As Walker suggests, it鈥檚 worth thinking about how the published text would be different鈥攎aybe even better鈥攊f 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鈥檚 probably impossible (and definitely too time consuming) to identify all of the choices the author made and all techniques an author used, so it鈥檚 important to prioritize while reading. Knowing what you鈥檒l be writing yourself can help you prioritize. It may be the case that your instructor has assigned the text you鈥檙e reading to serve as model for the kind of writing you鈥檒l be doing later. Jessie, a former student, writes, 鈥淚n college writing classes, we knew we were reading for a purpose鈥攖o 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.鈥�

If the text you鈥檙e reading is a model of a particular style of writing鈥攆or example, highly-emotional or humorous鈥擱LW is particularly helpful because you can look at a piece you鈥檙e 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 readers 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 stories and think about whether you want to include them in your writing鈥攚hat would the impact be on your potential readers?

It is helpful to continue to ask yourself questions as you read like a writer. As you鈥檙e 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鈥攁fter plenty of practice鈥攜ou 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鈥檒l have to train yourself to do it well. Also keep in mind that you鈥檙e reading to understand how the text was written鈥� how the house was built鈥攎ore than you鈥檙e 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鈥檚 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鈥檛 really answer them before, or that your ideas will change while reading. Knowing why the piece was written and who it鈥檚 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鈥檛 anticipated, but even more importantly, she asks herself what she would do if she were the author. Reading the 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 different 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鈥檚 probably worth examining the evidence that the author uses to support his/ her claims if you鈥檙e reading an opinion column, but less important if you鈥檙e 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鈥檚 pretty normal to get confused in places while reading, especially while reading for class, so it can be helpful to look closely at the writing 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.

• 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鈥檝e 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鈥檚 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.

The most common suggestion made by former students鈥攎entioned by every single one of them鈥攚as to mark up the text, make comments 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鈥檚 important to read with a pen or highlighter in your hand so that you can mark鈥攔ight on the text鈥攁ll 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 following 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?

By utilizing this same process of highlighting and note taking, you鈥檒l end up with a useful list of specific techniques to have at your disposal when it comes time to begin your own writing.

Let鈥檚 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鈥檚 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鈥檚 begin with those questions I encouraged you to try to answer before you start reading. (I realize we鈥檙e cheating a little bit in this case since you鈥檝e 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 further develop your answers.)

• Do you know the author鈥檚 purpose for this piece of writing? I hope the purpose is clear by now; if it isn鈥檛, I鈥檓 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鈥檚 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.

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-story theatre in the heart of London鈥檚 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.

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 author use to begin the text? This is a personal story about his time working 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鈥檚 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 revised sentence omits, so it鈥檚 worth considering why. Why did I mention 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 connect 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 certainly aren鈥檛 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鈥檙e reading will help determine the kinds of questions to ask.

Now take a broader perspective. I begin this essay鈥攁n essay about reading鈥攂y talking about my job in a theater in London. Why? Doesn鈥檛 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 鈥渙rdinary guy,鈥� 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 鈥渁ntiquated鈥� 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 obsolete. This is a fairly uncommon word, so it stands out, drawing attention 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 鈥減erformance鈥� when I just as easily could have writ- ten 鈥渟how.鈥� For that matter, I could have written 鈥渙ld鈥� instead of 鈥渁ntiquated.鈥� You can proceed like this throughout the sentence, thinking about alternative choices I could have made and what the effect would be. Instead of 鈥渟taff members鈥� I could have written 鈥渆mployees鈥� or just 鈥渨orkers.鈥� 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.

Which version is more likely to appeal to readers? You can try to answer this question by thinking about the advantages and disadvantages 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鈥檛 have to. As you continue reading like a writer, you鈥檒l learn to notice techniques that seem new and pay less attention to the ones you鈥檝e thought about before. The more you practice the quicker the process becomes until you鈥檙e 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 decide what worked and what didn鈥檛. 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?

1. How is 鈥淩eading Like a Writer鈥� 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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This essay was written by Mike Bunn, and it was published as a chapter in Writing Spaces: Readings on Writing, Volume 2, a peer-reviewed open textbook series for the writing classroom. This work is licensed under an .