How to Read Like a Writer: Mike Bunn's Practical Approach
Here's the thing about reading like a writer — it's not about reading more books. It's about reading differently. Mike Bunn, a respected writing coach and author, has spent years studying how writers actually develop their craft through reading. His insights aren't just theoretical; they're battle-tested methods that work.
Worth pausing on this one Most people skip this — try not to..
The short version is this: reading like a writer means slowing down and paying attention to craft details you'd normally miss. Still, it's about asking "How did they do that? " instead of just "What happened?
What Does It Mean to Read Like a Writer?
When Mike Bunn talks about reading like a writer, he's not talking about literary analysis or academic criticism. He's talking about something much more practical — reading with an eye toward understanding how the author constructed their work Turns out it matters..
This approach treats every book as a masterclass in storytelling mechanics. You're not just consuming the story; you're reverse-engineering it.
The Three Levels of Reading
Bunn identifies three distinct levels of reading that writers should practice:
Surface reading is what most people do — following the plot and connecting with characters emotionally. This is important, but it's just the starting point.
Structural reading involves noticing how the story is built — chapter breaks, scene transitions, pacing decisions, and narrative structure.
Craft reading is where the magic happens for writers. This is examining word choice, dialogue authenticity, description effectiveness, and how tension is built and released.
Most casual readers stay at level one. Most aspiring writers never progress beyond level two. The writers who actually improve? They master level three.
Why Mike Bunn's Method Actually Works
Here's what makes Bunn's approach different from generic "read more" advice: he gives you specific things to look for. He doesn't just say "analyze the craft" — he tells you exactly what to analyze.
Bunn's Four Key Areas of Focus
According to Bunn, every effective writer-craft-reading session should examine these four areas:
Character Construction: How does the author reveal character through action, dialogue, and decision-making rather than just telling us who someone is?
Narrative Voice: What makes this particular voice work? How does it serve the story and its audience?
Scene Building: How does the author create scenes that move story forward while also developing theme and character?
Language Precision: Every word choice serves a purpose. What are those purposes, and how could you apply similar techniques?
This isn't vague advice. This is a checklist that transforms passive reading into active learning Simple, but easy to overlook..
How to Actually Read Like a Writer (Step by Step)
Let's break down Bunn's method into something you can actually implement. Because here's what most people miss: technique without practice is just information Less friction, more output..
Step 1: Choose Your Reading Purpose
Before you open a book, decide what you're reading for. Here's the thing — are you reading for pleasure? Still, for craft study? For both? Bunn recommends alternating between pure enjoyment and focused analysis Which is the point..
When you're reading for craft, choose books by authors whose work you admire or want to understand better. Don't waste time analyzing something that doesn't engage you Easy to understand, harder to ignore..
Step 2: Read Actively, Not Passively
This is where most people fail. They mark up books or highlight passages, but they're not really thinking about what they're seeing. Bunn suggests asking yourself questions as you read:
- Why did the author choose this particular word or phrase?
- How does this scene end? What effect does that have?
- What would happen if this paragraph were removed?
- How does the point of view shift, and why?
These aren't questions you'd naturally ask when reading for entertainment. They're questions that train your writer-brain That's the whole idea..
Step 3: Take Notes That Matter
Bunn emphasizes quality over quantity in note-taking. Don't just jot down plot points or character names. Write about craft choices:
- "Author uses short sentences here to build tension"
- "Dialogue reveals character through what's not said"
- "Chapter break ends on a question rather than resolution"
These observations become your personal toolkit for future writing Worth keeping that in mind..
Step 4: Apply What You Learn
This is the step that separates serious writers from hobbyists. After reading a section, ask yourself: "How could I use this technique?"
Maybe you notice an effective way to reveal backstory through dialogue. Maybe you see how a chapter ending creates anticipation. Try applying that in your next scene. Use that structure in your own work.
Common Mistakes People Make When Reading Like a Writer
Here's where most advice falls apart. People try to read like writers but make critical errors that actually hinder their development.
Mistake #1: Over-Analyzing Everything
Some writers get so caught up in deconstructing every sentence that they lose the joy of reading. And bunn warns against this. Because of that, you need to read for pure pleasure regularly. Otherwise, books start feeling like homework Easy to understand, harder to ignore..
The key is balance. Read some books straight through for fun. Pick one book per month for deep craft analysis.
Mistake #2: Comparing Yourself to Masters
This is inevitable, but dangerous. When you read a published author, you're comparing your draft to their finished product. That's not a fair fight.
Bunn suggests comparing your work to your previous work, not to published authors. Your goal isn't to become a perfect writer overnight; it's to become slightly better than you were yesterday.
Mistake #3: Only Reading "Good" Books
Many writers stick to bestsellers and award winners when studying craft. But some of the most instructive books are flawed in interesting ways.
Bunn recommends reading a mix: books that excel in different areas, and books that struggle in specific ways. Both teach you something valuable Not complicated — just consistent. Which is the point..
Mike Bunn's Specific Recommendations
Let's get concrete about what Bunn actually suggests. His method isn't abstract theory; it's practical guidance The details matter here..
Book Selection Strategy
Bunn recommends building a diverse reading list that includes:
- Books by authors with different strengths (some excel at dialogue, others at description)
- Books in different genres relevant to your interests
- Books at different skill levels (don't just read masterworks — read works by emerging authors too)
- Books with different narrative approaches (first person, third person, multiple POVs)
Reading Schedule
He suggests dedicating 20% of your reading time to craft-focused analysis. If you read an hour a day, spend 12 minutes on deep craft reading and 48 minutes on pleasure reading.
This ratio keeps you learning without burning out on analysis.
The Revision Connection
Here's what most people miss: Bunn emphasizes reading with an eye toward your own revision process. When you notice effective techniques, think about how they might apply to your current project.
If you're revising a scene with weak dialogue, study how published authors handle conversation. Now, take notes. Try the techniques. See what works.
Practical Tips That Actually Work
Let's cut through the noise and focus on what actually moves the needle for your writing development.
Start Small
Don't try to analyze an entire novel in one sitting. Plus, pick a single scene or chapter. Day to day, focus on one craft element. Master that before moving on.
Keep a Craft Journal
Bunn recommends maintaining a physical notebook (not digital) where you record observations about craft elements you want to remember. Write by hand — it helps the information stick better Worth knowing..
Read Outside Your Comfort Zone
If you primarily read literary fiction, try a thriller. If you avoid nonfiction, pick up a memoir. Different genres employ different craft techniques, and variety builds a stronger writer's toolkit.
Discuss What You Learn
Talk to other writers about what you've discovered in your craft reading. Explaining techniques to others solidifies your understanding and often reveals insights you missed initially.
Frequently Asked Questions
How often should I read like a writer?
Bunn suggests doing focused craft reading 2-3 times per week. Daily pleasure reading is ideal, but craft analysis requires mental energy that builds up over time That alone is useful..
What genres should I focus on?
Read genres relevant to your writing goals, but also venture outside them. A mystery writer can learn a lot from literary fiction, and vice versa Small thing, real impact. That's the whole idea..
Should I take online courses to supplement this approach?
Bunn doesn't rely heavily on courses. He believes in learning through actual reading and practice. Courses can help, but they
Courses can help, but they should be viewed as supplemental tools rather than replacements for the immersive experience of reading like a writer. A well‑chosen class can illuminate a specific technique—say, the architecture of a three‑act structure or the nuances of subtext—but the real work happens when you close the syllabus, open a book, and apply what you’ve observed to your own pages.
Additional Guidance
Set a manageable scope. Instead of trying to dissect an entire novel, pick a single page or a brief exchange and ask yourself what makes it tick. Is the pacing driven by sentence length? Does the point of view shape the reader’s empathy? Narrowing the focus prevents overwhelm and builds analytical muscle.
Create thematic reading buckets. Organize your list by the elements you want to strengthen—dialogue, description, pacing, character arcs, world‑building, etc. When you finish a book, ask which bucket it belongs to and note the specific tools the author employed. Over time you’ll develop a personal reference library that maps techniques to the problems you’re solving.
Pair reading with writing drills. After studying a passage that excels at, for example, showing rather than telling, write a short scene that deliberately uses that same technique. The immediate translation from observation to practice cements the lesson far more effectively than passive consumption alone.
Revisit and refine. Return to earlier entries in your craft journal after a few weeks or months. Compare the notes you made then with the insights you now have. This iterative loop reveals growth, highlights lingering blind spots, and reinforces habits that might have faded Not complicated — just consistent..
Engage with diverse formats. Graphic novels, screenplays, and even poetry collections each demand distinct analytical lenses. A screenplay, for instance, forces you to think in terms of visual beats and dialogue economy, while a verse novel sharpens your sense of rhythm and line breaks. Incorporating these varied media expands the range of strategies you can borrow Most people skip this — try not to..
Closing Thoughts
Reading like a writer is less about consuming stories and more about interrogating the machinery that makes those stories move. By allocating deliberate time for craft analysis, keeping a tactile journal, and deliberately stepping outside familiar genres, you construct a feedback loop that continuously informs and improves your own work. Think about it: the habit of asking “What does this achieve? Practically speaking, ” and “How could I replicate—or improve upon it? ” becomes as natural as the act of turning pages That's the part that actually makes a difference..
Counterintuitive, but true.
In the end, the most powerful outcome isn’t a catalog of techniques; it’s a heightened awareness of choice. Every word, pause, or structural decision you encounter is an invitation to experiment in your writing. Embrace that invitation, stay curious, and let the books you read become the architects of the stories you will someday tell It's one of those things that adds up..
Most guides skip this. Don't.
