By Lori DeBoer
We read for many reasons—to be entertained, to be swept up in a story, to be transported into an interesting world, to laugh, to cry, to learn, to gain insight and to be inspired. But when we become writers, we need to read like a writer. We become active readers, slowing down the process and becoming conscious of the material. We examine published writing to learn what moves us, to figure out what works and what—in our not-so-humble opinion—doesn’t. By doing so, we gain insight into what we want to write and how we want to write it. Ultimately, we learn about both craft and art by reading and emulating great writers.
Someone reading for merely for pleasure engages in a passive process—he or she may romp through a book or story but probably doesn’t spend much time thinking about what went into it. An active reader may read something the first time through for pleasure, but pays attention to which parts of the story were memorable, which passages were funny, sad, thrilling or merely confusing. An active reader goes so far as to make notes in the margin to flag passages that call for a more in-depth look. Active reading requires revisiting a piece of writing many times to understand its underlying structure and all its nuances.
When I worked as the public relations director for the Liquid Crystal Institute, a research center at Kent State University, I remember that one of the research scientists showed me a really expensive, tiny computer from a competitor that he was going to take apart.
“This will show me they work.”
“Can I have one after you’re done?” I asked.
He looked at me, frowning. “After I reverse engineer them, they won’t work anymore.”
Lucky for us, when we reverse engineer a piece of writing—taking it apart to see what components it contains and how they fit together—we rarely ruin the story. In fact, we can come to appreciate the story even more because the skill of the writer is revealed. Reverse engineering is a good model for the process of active reading.
Another way of thinking about being an active reader is to think about a piece of writing the way you would a house. If we visit someone’s house for the first time, we like taking a tour and looking at all the cool pictures and furniture. If you were an interior decorator, you might observe that the rooms are harmonized with blue and red accents, or that the walls have a rich, faux paint. An architect, however, would likely visit the house and become engaged by its structure and design style, and perhaps may not be jarred if the décor doesn’t match the period. Bring along your buddy the building inspector, and you can bet he’s not going to go gaga over the décor or the architectural style. He’ll peer at the porch to see if it sags or has termites. He’ll poke around in the basement with a flashlight to see if the foundation stands firm.
Taking a cue from various building professionals, the professional writer needs to roll many roles into one, examining writing in the same way that a potential home owner might scrutinize houses. You need to incorporate not only your penchant for interior decoration (the aesthetics of the writing), but you need to cultivate your appreciation of architecture (how the story is designed) and the critical eye of the home inspector (for construction details such as grammar and spelling).
You can learn just as much from pieces you don’t care for as the ones that you love. Reading like a writer requires that you read widely, that you venture into territory outside of your preferred genre to see what you can bring back to sustain your own work.
Action Step: Make a list of your all-time favorite books, essays or articles. Note the genre you like most to read. Leave room to jot down what you liked about these works. Be specific. Was the story riveting or were you most moved by the quality of the language? Did the characters stick in your head and heart? You might want to revisit a few works in your personal library and read them more closely, practicing active reading. Please let me know what discoveries you make.
Lori DeBoer is an author, freelance journalist and writing coach. She has contributed essays on writing to Mamaphonic: Balancing Motherhood and Other Creative Acts, Keep It Real: Everything You’ve Wanted to Know About Research and Writing Creative Nonfiction and A Million Little Choices: The ABCs of CNF. She is a contributing editor for Short Story Writer and director of the Boulder Writers’ Workshop. Her stories have been a Top-25 Finalist for the Glimmer Train Fiction Open as well as being shortlisted for the Bellevue Literary Prize. She’s been published in Arizona Highways, The Bellevue Literary Review, Gloom Cupboard, The New York Times, Iowa Woman, Pithead Chapel and America West Airlines Magazine. One of her clients was a finalist for the Flannery O’Connor Award for Short Fiction and four of her clients have been finalists for the Colorado Gold Award. For more information, visit her website and blog at www.lorideboer.net.