OK, I'll try to do this, but honestly, I don't have the kind of time it deserves.

Deconstruction is, roughly speaking (and believe, me, I'm speaking schematically here) for the purposes of this discussion, the philosophy of Jacques Derrida, and his followers. (We'll ignore, for the moment, the more literary analysis of Paul De Man, which often go under the name of deconstruction as well.)

Derrida makes it very clear throughout his writings that deconstruction is not a repeatable method which can be applied to a text, but rather, an engagement with a text on its own terms. So, there is no "formula" or set of steps that can be applied.

Second, despite the author's reduction of deconstruction to a branch of literary criticism, the texts in question are more often from the philosophical corpus than from the literary tradition. While it's true that Derrida devotes more attention to folks like Joyce, Celan and Genet than most philosophers do, the quantity of pages he devotes to them is a tiny fragment of the time he devotes to Heidegger, Husserl and Hegel, for instance.

Despite the author's step-by-step breakdown, deconstruction in practice doesn't work this way. If I were forced to generalize (and I suppose I am), I would say that deconstruction consists most often of a micrological reading (that is to say, a very close reading of the actual words of the text, not not just the broad concepts) which takes into account the (usually unconscious) assumptions that the author is working within. Most often, these assumptions, when taken to their logical conclusion lead to either a contradiction or an aporia, and the text often reflects this, unknowingly. So, a deconstructive reading often picks up on latent implications of the text itself.

I should point out that the author here is completely wrong when he writes "Step 2 -- Decide what the text says. This can be whatever you want...." This is egregiously incorrect. In fact, one of Derrida's main points is that we do not decide at all what the text says. (As an aside, decidability is actually a term of art within deconstruction, so the author's abuse of it here is particularly irksome. If he had say "figure out" instead of "decide" he'd have been less wrong on several counts.)

To take a concrete (and much celebrated) example, Derrida's "Plato's Pharmacy" is a reading of Plato's Phaedrus. It will make absolutely no sense to you if you haven't already read the Phaedrus closely, and are already familiar with the traditional interpretation of the text within philosophical circles. Sorry, but that's the bar to entry.

Assuming that you know the Phaedrus, then: the central moment in the text (according to the standard reading) is the condemnation of writing-- you know the passage. In the course of this, Plato (or rather Socrates, or rather, an Egyptian king in a legend recounted by Socrates recounted by Plato) compares writing to a drug, using the Greek word "pharmakon". Derrida shows that this word, like the English word "drug", has both a positive sense ("remedy") and a negative sense ("poison"), and cannot be reduced to either singular meaning. Furthermore, the oscillation between these two meanings cannot be fully controlled, but only understood through context, which is never saturated (never fully complete.) Put simply, if you call something a drug, you can't exclude either the positive or negative meaning in the mind of the listener. Now, at this point, Derrida then goes through the entire Platonic corpus, and quotes every time the word "pharmakon" or one of its cognates ("pharmikia", etc.) is mentioned, and shows the range of meanings implied by this term for Plato, and its implications for the passage in the Phaedrus. So far, so good. But here comes the kicker: Derrida shows that although Plato uses a variety of related terms throughout his works, there is one cognate which is notable by its absence: "pharmakos", meaning "scapegoat". And this ghost-reference to scapegoating seems to fit quite well with what Plato is doing with writing.

Now, I've trivialized Derrida's argument in at least a dozen ways in writing this-- and as I said, the above will not make any sense if you're not already steeped in the debates within the philosophical tradition about "writing" versus "speech", which are of little interest to anybody outside of the philosophical tradition. But that's a taste of what deconstruction is like, and how it operates.

I'll note in passing that there is only one "binary opposition" that Derrida is at all interested in within his work-- "interior" vs "exterior"-- and the "speech" vs "writing" discussion in Plato is a proxy for this.

The paper linked here make "jive with what your eyes see", because it was written by somebody on the outside, looking in. And I'm sure that if I were to write an outsider's view of a discipline I knew nothing about (say, astro-physics) it might look completely plausible to another outsider, while in reality bearing little resemblance to what actually goes on within the discipline.

Does that help at all?