It's unclear whether you're discussing fiction or nonfiction, and the two are very different beasts. But I'd argue that there are two problems to resolve when putting together a piece meant to be read by an audience.

The first is structure. That is, how do you want to organize the information presented? In fiction that's typically done with scenes, in nonfiction organization can be temporal for a series of events or by commonality. Regardless, you face the problem that readers take the message in as a stream; word by word, sentence by sentence, paragraph by paragraph and so on. But complex ideas are typically nonlinear. So you must associate these disparate ideas through the sieve of a linear filter; a brain.

With fiction, you might use repetition to built motif and theme. Or structure scenes in a nonlinear timeline in order to form cross associations that might be missed with a linear time flow. Occasionally you'll even see cyclic structure, such as O'Brien used in _The Things They Carried._ But usually the structure is that of a linear time flow with a ladder of success / failure / success / failure as your protagonist works to achieve his/her goal.

Nonfiction can be temporal, often used with historical texts. Or structured around a theme that's broken down by subsections; often used in academic writing where citations are a framework for an argument. Journalistic writing tends to focus on the most important facts first and build like a pyramid, so editors can cull the least relevant material to fit into a page slot.

For fiction, a serious issue to resolve is characterization. What are your character's motivations? What do they want to get or accomplish? What are they sensing within a scene during story time? How do events in the story make them feel emotionally? And there's the issue of voicing. How do they speak? What mannerisms make them distinct and different from other characters, so they stand out as an individual?

The second problem, for both fiction and nonfiction, is the issue of presentation. That's typically the last problem to resolve, and is handled at final draft stage through a series of copyedits with your best friend Mr. Thesaurus. You'll dig around, sentence by sentence, looking for just the right word that either removes ambiguity or - sometimes - introduces intentional ambiguity for artistic purposes. This is the point where your main focus is to make prose flow as readable as possible. It's the last step, because you don't want to worry about this stuff while you're shifting scenes, moving paragraphs, adding quotes and introducing new citations.

As for analyses, yeah. Do it. Tear apart your favorite author's work and try to copy it stylistically. It helps.