I mark in books about which I have to give presentations, write papers, or understand for the purpose of debate.

I do not mark in fiction, unless it's so heretical that I have to read it for the purpose of debate. Otherwise I make mental notes (I tend, and would suppose the same of most, to remember fiction more vividly as the imagination is more easily engaged).

I don't make notes in my Bible, as I most often read my iTouch, Kindle, ESV edition. In my parallel hard copy version (KVJ, amp, NASB, NIV), I also do not mark.

I mark most all other books, though I was adamantly against doing such three years ago. I now consider my understanding more important that the mint-ness of the book. If it's that good, I'll buy another copy at some point. But that Coleridge fact reminded me of something.

Writing in books is about determining the value of the published information. If you don't understand it, you cannot appreciate/value it much. But if writing in the book helps you understand the material better, you have increased its value for yourself, OR you have demonstrably decreased its value (perhaps it's wrong or heretical). Both are important reasons for writing in a book. And such understanding and wisdom is more precious than rubies, let alone a perishable book.

God bless,

As a father, I hope to one day be able to pass along my library to my children. But even now, as they grow older in my home, I love the thought that they have the opportunity to pick up any one of my books and read how I have wrestled and thought through many of the theological and contemporary issues of my life. This seems to me to be one of the sweet benefits of writing in all of our books we read. We can forever continue to train and disciple our children in the ways of God!

Anything important to remember, that has to do with summarizing the flow of the argument, or something else noteworthy is underlined in black. I also all of my marginal notes in black, except as described below. I like to be able to pick up a book, read just what I underlined in a chapter, and then have a good feel for the argument again.

Blue is seldom used and I reserve it for things that are extremely important, definitely worth remembering, and otherwise just plain amazing.

Red shows up first and foremost whenever the author contradicts Scripture. I also use it when I strongly disagree with the author. I additionally underline in red when something is phrased poorly, so as to make it ambiguous or imply a wrong connotation. I make notes in the margin in red that explain why I underlined what I did, as well as a better alternative.

I find this system quite simple and very user-friendly.

I recommend using index cards or a notebook to make notes if you find that helpful. You aren't limited to narrow margins or hampered by thin pages or lousy paper.

Keep in mind too that it's what they say, not you–or someone else would be marking up your book!

Typically I mark books with a pen or thin marker. My purpose for marking in a book is usually so that I can easily find a quote or idea that I want to come back to at some point. Frequently I use quotes from books I've read when leading my ladies Bible study. Often in the hopes that they'll want to pick up and read the book that I've benefitted from. I've never cataloged my notes or quotes although I'd love to at some time.

Anyone could pick up a book from my bookshelf and find out what my thoughts were simply by scanning the notes. Lots of stars and underlining and I've loved the book. Lots of question marks and "huh?" and people would know that I didn't agree with much of what the author had to say. So far I haven't taken to xing out pages. I've had to apologize to friends who borrow my books and warn them to do their best to ignore my notes.

Glad to see that others enjoy the art of marginalia!

Underlining key passages, writing my questions, clarifying what I think it means…It's all been so useful, especially when returning to a passage. It lets you frame your thoughts instead of gliding through a passage thoughtlessly. I also copy sections of commentaries next to the passage which help me understand it better.

I don't like to write in fictional work, even if it's rubbish. I can't help but think it is a little too aggressive, or maybe supercilious to do this. Sometimes creative works are offered up for what they are, weaknesses and all. It's important to judge whether something is intended by the author to do something more than entertain. If a writer is firmly trying to educate us or convince us of some philosophical position, it might merit some kind of reader response. But to comment on entertainment literature is like talking during a film: it can end up being a bit pompous be a critical nitpicker *all* of the time.

But I'm sure you're not suggesting that you do that all the time. I'm just nitpicking your post :)

Piper's remarks at the Carl Henry talks with Carson was an encouragement. Piper discussed how he likes to "feel" books and that he is admittedly a slow reader. I feel sometimes in the reformed, book loving culture a peer pressure to read a lot, almost like Carson who is the exact opposite of Piper, Carson reads 500 books a year. What that can do for me at least is make it about getting through books, instead of getting into the book, big difference.

Thanks for the post it was really helpful in my processing of how I read!

I follow many of the same practices that you outlined in your post, but I'm still trying to find an effective way to organize a "quote database."

Since I read all the time and read many different genres, I have some personal rules as to which books I write in and which ones I don't.

1. I don't write in my Bible. I want to be able to focus on the text and not my own commentary. I don't want to be drawn to the same highlighted verses every time I read through a book.
2. I don't generally write in fiction. I read fiction mostly for entertainment and pleasure – instead of watching tv. I'm not here to analyze (although, at times, I can't help it).
3. I have a number of books that are relatively old. Anything over 100 years old is automatically off limits to the writing utensils.
4. Just about everything else is fair game. As I said, my practice doesn't differ much from yours (Rob Bell has a lot of pen on him).

Three hours with Mortimer Adler on one DVD. A must for libraries and classroom teaching the art of reading.

I cannot over exaggerate how instructive these programs are–we are so sure that you will agree, if you are not completely satisfied, we will refund your donation.

Please go here to see a clip and learn more:

http://www.thegreatideas.org/HowToReadABook.htm

I prefer to come at each book afresh, even if I've read it before. Then, once I re-read it, I can compare my notebook notes and see how my own thinking/philosophy/etc. has matured over the years.

I have the privilege of working as the Archivist and Special Collections Librarian at the Southern Baptist Theological Seminary. Recently, we put on exhibition a number of works previously owned by some of our best known professors — men like James P. Boyce, John A. Broadus, Basil Manly, Jr., E. Y. Mullins, and A. T. Robertson. These works all include significant marginalia (that's the fancy term for writing notes in books).

The fascinating thing about the exhibit, in my opinion, is that the professors had so many different reasons for writing in their books — reasons that often had little to do with the argument of the book itself. Some made notes for class preparation, some made notes about momentous life events that were tied in some way to the books, and others made notes what lecturers on the book's topic had to say.

If you're interested in learning more about marginalia, there's a really good book entitled Marginalia by H. J. Jackson. It's fascinating reading, especially when Jackson discusses Samuel Taylor Coleridge. Coleridge's marginalia was so well known and useful that friends would loan him copies of their books just so that he would write in them! Whole collections of his marginalia have been published.

1. Agree with Gary. I'm a pencil guy (for the very reasons he states).

2. Reference works are exempt. I do not write in commentaries, exegetical/scholarly dictionaries or other 'standard' reference works.

Everything else gets marked up. I should note I only started doing this about a year ago–and have seen a marked improvement in my ability to retain information. I also sense I am interacting with the author more deeply.

More frequently than anything I underline (with pen and ruler) important ideas or quotable passages. If something particularly thought provoking or controversial comes up I may respond with comments in the margin but I typically don't index those in a meaningful way. The act of writing the notes is generally enough to keep that idea or thought in my head long enough to work through it.

People write books to present a (mature) stage in thinking, hopefully, more then a finished product. Therefore, it deserves an interactive approach that appreciates where they have left a topic. I do not read in order to save the book for posterity, or for a future a library somewhere, though may happen. I read it in order to grwo from it, remember it and reference it later as need be. They become like friends or colleagues (or enemies) that you return to if worth their salt. To 'retinize' a chapter, rather than peruse it, yields nothing. It's like going to a mirror and then forgetting what you just looked at once you leave. The only thing I do not like is ink running through the page and marring the other side.

But the implement for marking is really an extension of my voice and mind congealing to present an agreement, or disagreement or improvement or some evaluation. Underlining, circling, drawing lines of logic from one word in one paragraph to another down below, is what really helps one to ingest a person's written word. I will have to admit also, that there have been times where more has been underlined than not on a page. I then resort to different colors for emphasis! (i.e., Of course, I do not do this on sheet music, lest it be with a light leaded pencil. There the dynamic is different since much of it is rented or borrowed).