Episode 322 - Becoming a Better Writer by Being a Better Reader with Kristen Tate
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Kristen Tate discusses BECOMING A BETTER WRITER BY BEING A BETTER READER, including how novel study helps authors analyze story structure, scene design, pacing, and sentences; practical strategies for rereading fiction with purpose; learning craft lessons from the books you love and even the books you don't love; balancing reading for pleasure with analytical reading; and using books, book clubs, and intentional reading habits to become a better, more confident fiction writer.
Kristen Tate has been a freelance editor for a decade, helping authors transform their work from rough draft to finished book. She has a PhD in English from Columbia University, with a focus on publishing history. She is the author of Novel Study: Decoding the Secrets and Structures of Contemporary Fiction and writes a regular newsletter full of craft advice and encouragement for authors.
Episode Links
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Summary
In this episode of The Indy Author Podcast, Matty Dalrymple talks with Kristen Tate about becoming a better writer by becoming a better reader, with a focus on reading fiction analytically to improve writing craft. Matty and Kristen explore how intentional, thoughtful reading can sharpen skills related to story structure, scene design, pacing, character development, and sentence-level technique, especially for fiction writers.
BECOMING A BETTER WRITER BY BECOMING A BETTER READER
Kristen explains that her interest in reading as a craft tool began with her desire to become a better editor. After spending a year reading and reviewing one craft book per week, she realized that, while formulas and frameworks were helpful, they did not fully explain why certain novels felt masterful. She still found herself unable to clearly articulate what made a particular book work so well. That realization led her to approach novels the way she had been trained in graduate school: by taking them apart piece by piece and analyzing them in depth.
This process evolved into what she calls “novel study,” which later became the basis for a group-based project where writers read bestselling novels together and analyzed them collectively. The emphasis was not on whether participants liked a book, but on understanding how it worked and what techniques the author used to achieve specific effects.
FORMULAS VERSUS HOW NOVELS ACTUALLY WORK
Kristen acknowledges the value of popular craft frameworks such as SAVE THE CAT, STORY GRID, and THE ANATOMY OF STORY, especially for writers who are starting out or facing a blank page. These systems can provide reassurance and direction. However, she notes that once writers move beyond the basics, real novels often diverge significantly from formulas. Each book is unique, and studying completed novels reveals a wide range of successful approaches to structure and storytelling.
Rather than treating novels as templates to copy, Kristen encourages writers to study them as individual solutions to storytelling problems. Looking closely at how different books handle similar challenges—such as multiple points of view or non-linear timelines—can expand a writer’s sense of what is possible.
READING FOR TOOLS AND TECHNIQUES
Matty and Kristen discuss the idea of reading with specific questions in mind. Instead of focusing on general impressions, writers can look for answers to targeted craft questions, such as how an author balances internal thoughts with external action in an action scene, or how they manage pacing across chapters. Kristen suggests that writers can “read for the tool and the technique,” extracting lessons that can later be applied to their own work.
Kristen emphasizes that all reading is valuable, even when it is not analytical. Simply absorbing story structure over time helps build writerly intuition. However, she notes that rereading is where deeper learning often happens. One practical strategy she recommends is shifting formats—for example, listening to an audiobook for the first pass to experience the story as a reader, then rereading in print or on an e-reader to take notes and analyze craft choices.
PRACTICAL STRATEGIES FOR ANALYTICAL READING
Kristen offers concrete suggestions for writers who want to read more analytically without becoming overwhelmed. She recommends leaving “breadcrumbs” for yourself while reading, such as highlights, notes, or sticky tabs that mark moments worth revisiting. These might include a striking sentence, a strong scene ending, or a moment of emotional impact.
She also introduces a three-level framework for analysis: story level, scene level, and sentence level. Writers can reflect on questions such as where the story’s most intense moments occur, where their attention flagged, or how the climax is positioned. On the scene level, Kristen describes an intensive method she uses professionally: tagging every sentence in a scene as dialogue, action, interiority, or backstory, then analyzing the proportions. While she acknowledges this is time-consuming, she suggests simplified versions, such as rereading a single standout scene and underlining everything that is not dialogue or action to reveal the “invisible” craft holding the scene together.
Sentence-level study, she notes, is often the easiest entry point. Writers can copy sentences they admire into a notebook and analyze why they work, looking at verb choice, sentence length, punctuation, and placement within a paragraph.
BALANCING PLEASURE AND ANALYSIS
Matty raises the question of how writers can learn from reading when they are not consciously studying craft. Kristen responds that remembering the reader’s experience is crucial. Readers encounter stories over time, much like watching a film, and writers who focus only on micro-level edits can lose sight of that broader experience. Reading for pleasure helps writers reconnect with how stories feel, not just how they are constructed.
Rereading, especially after finishing a book that made a strong impression, can bridge the gap between pleasure and analysis. Changing reading formats and slowing down after finishing a book—rather than immediately starting the next one—can create space for reflection and learning.
OPENINGS, PROLOGUES, AND READER EXPECTATIONS
The discussion turns to common craft debates, such as whether to eliminate the first chapter or avoid prologues. Kristen cautions against treating any advice as absolute. She points out that every book makes deliberate choices based on its intended audience. For example, she cites THE CITY WE BECAME by N.K. Jemisin, which opens with a prologue that works precisely because of how it frames the story, and THE SEARCHER by Tana French, which begins slowly to attract readers who value character and atmosphere over immediate plot momentum.
Kristen suggests that one useful analytical exercise is to ask, “What if this were opposite?” Imagining alternative choices can clarify why an author’s actual decision works. Ultimately, she emphasizes the importance of understanding and trusting one’s ideal reader rather than trying to please everyone.
LEARNING FROM DISLIKED OR “BAD” BOOKS
Matty and Kristen also address whether there is value in reading books a writer dislikes. Kristen believes there can be significant educational benefit, as long as writers separate personal taste from assumptions about quality. She encourages writers to read across genres and to question cultural judgments about “good” and “trashy” books.
If a writer truly dislikes a book, Kristen suggests alternatives to forcing a full read. One option is to stop after fifty pages and then skim strategically—reading selected chapters and the ending—to see how the story resolves. Reflecting on what triggered a negative reaction can reveal important insights about personal taste, craft preferences, and storytelling priorities.
WRITING REVIEWS AND NOTICING DETAILS
Matty shares that she wants to be more intentional about writing reviews, both to support other authors and to reflect on what she has read. Kristen agrees and suggests a low-pressure approach: listing a few specific things that delighted you about a book, even if they are small details. She notes that these observations can be meaningful to authors and can also help writers identify recurring themes in their own tastes.
Kristen emphasizes the importance of specificity, citing examples where unexpected details or empathetic reframing of seemingly negative character traits made a lasting impression. Asking “why” repeatedly, she suggests, can uncover deeper thematic insights.
OVERCOMING RESISTANCE TO READING
Kristen acknowledges that some writers resist reading closely due to fear—fear of influence, fear of plagiarism, or fear that someone else has already written their idea. She argues that these fears are largely unfounded, especially when writers lean into their own tastes and perspectives. She also recognizes time constraints as a real barrier and recommends audiobooks and group-based reading projects as accessible entry points.
CREATING A CRAFT-FOCUSED BOOK GROUP
Finally, Kristen offers advice for writers interested in forming a craft-oriented book group. She emphasizes the importance of shared goals, clear leadership at the outset, and prepared discussion questions that steer conversation toward how a book works rather than whether participants liked it. She also highlights the value of creating separate spoiler and non-spoiler discussion spaces, allowing participants to engage at different stages of reading.
Throughout the episode, Matty and Kristen reinforce the idea that reading intentionally—whether alone or in community—is one of the most effective ways for writers to improve their craft, deepen their understanding of storytelling, and make more confident, deliberate choices in their own fiction.