How to read like a writer

If you’ve ever followed any Writergram accounts on Instagram or Twitter, I guess you’d have heard this advice—read like a writer.

People can’t stop glazing about how it’s one of the best pieces of advice any beginning writer could get, how it’s one of the most important skills to study prose and create your own, and all that. But, as you could’ve guessed, there’s a lot of unpacking to be done here.

What does it even mean to read like a writer? How’s it different from reading like a reader, or just for fun? And, how the frick do you even read like a writer?

I had to rant about something, and that’s the topic I’ve chosen today. So, here’s my two-cents on it.

***

#01 - The Basics

So, what does it mean to read like a writer?

I believe that reading like a writer is a form of reading prose where you’re conscious of the artistic decisions the author makes throughout the piece. For example, if there’s a high-stakes action scene, probably a fight scene or something, and you notice that the average length of sentences has suddenly become shorter and punchier.

Firstly, you need to understand that there’s a lot of such artistic decisions that writers take while writing a piece. And, every writer does that. These decisions are primarily related to writing-style, but are also focused on the story-structure, character-development, themes, and more.

For clarity, let’s divide them into two types of decisions—micro-level decisions and macro-level decisions. Micro-level decisions would include the writing-style, scene-descriptions, and all that stuff. Primarily, stuff that you can notice on the very page itself. It’d relate to the sentences instead of the plot. Refer to the example above again—that’s a form of micro-level decision.

Macro-level decision would be an artistic decision where you need to complete the whole, or a big chunk, of the piece to point them out. Such macro-level decisions would relate to the plot instead of individual sentences. For example, the decisions they’ve made regarding the plot, characters, and the underlying themes of the prose.

I tried my best to make the distinction as clear as possible. I hope you guys understand them clearly.

Anyway, each type of artistic decision would need to be checked in a different manner, y’know. To analyze macro-level artistic decisions, you’d need to probably finish the whole novel and do some research and brainstorming related to the themes of the story and the way the author discussed those said themes in their work.

It takes some time to get into the head-space to analyze the story and its themes. And, you might need to recap the story in some form or the other, y’know. At least, I need a little recap. Because generally, it takes me months to complete a novel or TV series. Or manga series. Or anime. Or anything else I need to analyze.

… And that’s because I start a lot of stuff before I finish the previous ones. Not gonna lie, I’m reading around four-five novels at the moment, a couple of which are web-novels on RR, along with three manga series. Please don’t ask me why I do that, I hate it myself.

Anyway, now onto the second type: the micro-level artistic decisions. This is where you need to be really conscious while reading the work. In fact, I believe that these forms of decisions are what people generally mean when they talk about reading like a writer.

Micro-level artistic decisions, like I said earlier, include sentence-structures and writing-style of the author. And yeah, it’s really easy to slip out.

I’d like to refer to my favorite lit-fic The Road, by Cormac McCarthy, as an example. Reading the work, you’d see that the style feels… barren. The scene-descriptions are a pain to read; the vocabulary is just too hard. But, vocabulary becomes a lot easier during dialogues. That’s because the scenes are a pain to see, while the characters are losing their power to communicate effectively. I talk about it in detail in a previous blog:

But, man, maybe that’s how it’s supposed to be. Maybe that’s why McCarthy wrote the descriptions in this way—to symbolize the mental stress that the characters go through as they experience this world, this form of reality that they were not meant to be in.

And maybe the novel is so lacking in narrations because the characters’ minds have gone numb. They’re forgetting language. With almost zero human interaction most of the time, they are forgetting how to think and interact in words. You lose the skills you don’t really use anymore, y’know. And these guys are so obviously depressed, so they don’t think about the world. They are used to the sad reality they live in. No point in complaining how bad the food is if that’s all you’re gonna eat all your life.

So, a scarcity of narrations tell you a lot about the story and its characters. It reflects something, it symbolizes something.

Also, if you read about Kafka’s The Metamorphosis, you’d observe how the author’s writing-style is often bland and indifferent. That says something about the characters and the plot too—it keeps the readers detached from the story, forcing them to adopt a third-person POV where they can constantly judge the plot and the characters.

Understanding the micro-level artistic decisions also include understanding the different nuances in different authors’ style. For example, sometimes you’d see that authors write scene-transitions like this,

We talked it through, and decided that it’d be the best to continue the conversation once we’re in the safe vicinity of this house. School was dangerous for such serious conversations—what if somebody hears us out and report us to the police?

So, we shut up as we boarded the bus, and twenty minutes later, we were pulling through his house’s driveway. We both stepped outside and…

Personally, I’m not a big fan of such transitions. I’d rather use three asterisks instead, like I do with my blogs here.

***

When to read like a writer and when not?

Yeah, that can be a mess. You don’t need to have the writer’s eye open every single time you’re reading something.

Personally, I use a trick. I only read like a writer when I feel that the piece is really different from the type of prose I generally consume, y’know. For example, I’m reading Markus Zusak’s The Book Thief. The blurb says that the novel is narrated by Death, which is something quite interesting. Apparently, Death appears in the story as a character, acting as a third-person narrator.

However, the story is not third-person omniscient POV. Quite the opposite, actually, for we see the narration alternating between the thoughts of the protagonist and the all-knowing omniscient narrator Death, which makes the writing-style of the novel quite interesting.

So I read the book as a writer—all the way, I’m figuring out how the author masterfully blended both third-person limited and third-person omniscient narrative styles and used the best of both worlds to fully utilize both of them and paint such an amazing writing-style. I don’t think I could ever pull that off, to be brutally honest. It’s just awesome what Zusak has pulled off in the prose.

Anyway, I derailed too much. The main point I was tryna make is that The Book Thief is different from what I usually consume—third-person limited POV web-novels. So, I do have to read like a writer. I probably won’t be reading like a writer if I was reading yet another RR web-novel or fantasy light-novel, y’know.

Another factor you might want to consider is if you like the prose or not. If you believe that you really love the novel and want to write something like it, you better study it a little. After all, you’d be writing what’s interesting to you.

A third factor: classics. If the prose is a classic, you might learn something from it. I mean, there must be some reason it’s stood the test of time, y’know, and people are still reading it. Yeah, sometimes, the style just seems outdated, and you likely won’t be adapting it. But there are some gems in it too. The Great Gatsby is a really good novel to learn first-person POV.

… And that reminds me, I still haven’t finished The Great Gatsby either. Even though I’ve been reading it for more than a year.

***

#03 - Conclusion

All of this might feel a little overwhelming for you guys. I can understand that.

I mean, that’s just too much information to think about, y’know. And you might not be able to catch up on most of them. Heck, you might not be able to understand any nuances between different authors’ styles at all!

But, just don’t give up, pal. It’s kinda tough out here, yeah, but that’s alright. Keep reading, keep practicing it out. You’d get there.

Keep reading and keep writing. That’s all it takes to become a great writer. But, doing both your reading and writing mindfully is what matters the most.

Subscribe to the FictionStudent newsletter to get latest blogs like this straight into your inbox. Also check out the website, as well as my Instagram and Twitter—where I might start posting soon. To be honest, I still don’t know how to use social media as a writer, but I’d be trying.

Meet you in the next blog. Till then, bye-byeee!