I’ve been thinking about how I want to approach writing about books. I used to write fairly standard reviews and that was fine but, honestly, there are so many good review blogs at this point that adding my opinion doesn’t feel particularly necessary. I can talk about what I liked or didn’t like about a book, but it doesn’t bring anything new to the table. And who knows, maybe there is nothing new to bring, but I want to try.
The fact of the matter is that my opinions aren’t unique – they’re personal and informed by my experiences – but so are everyone else’s. Generally speaking, my opinion doesn’t carry much weight for a person who isn’t me. That’s why I’m going to avoid the temptation of giving a general opinion and focus on something specific instead, something informed by the way I read.
The way I read has changed a great deal over the years. I used to read purely for entertainment. Then catharsis. Then curiosity. Then entertainment again. At this point, I read all across the board for a lot of reasons and, while I’m attracted to a different kind of book than I used to be (more on that in a post of its own) the fact is that I read widely from all sorts of genres and styles for all kinds of reasons. The only through-line in my reading is that I have an agenda. In addition to reading because I love to read, I read to become a better writer.
Even when a story has completely gobbled me up, part of my brain is whirring away, deconstructing and noticing and trying to figure things out. I love the craft of writing. I love technical elegance and subtle, inventive structures. I love the little mechanisms that make, or fail to make, a piece work. Sort of like a person who disassembles clocks, I love to dissect stories to see how they tick.
I’ve always done this to some degree, but the habit got formalized in college and grad school when I started applying theory to what I read. Later, when I started teaching myself how to write fiction, I applied the same principle. I found writing books that emphasized reading for different aspects of craft, from characterization and structure to pacing and voice. Slowly, I habituated myself to noticing these thing regardless of what I’m reading. That was more than twelve years ago, and that anatomical approach is just how I read now.
That’s why I talked about the structure Sarah Waters used in Night Watch and noticed the different way Muriel Spark manipulates the reader in The Driver’s Seat. It’s why I love Helen Macdonald’s use of a loose narrative style in H is for Hawk (there’s a post coming up on that). It’s not about me being all Miss Fancy Pants – it’s just the way I enjoy books.
So, rather than blog my general opinion, as scintillating as it may be, I’m going to write about the book from a writer’s perspective, hopefully in a way that isn’t totally boring for non-writers too. If nothing else, it’ll give me a chance to talk about two of the things I love most – stories and how they’re made.