Notes on creativity and community

Today, I had the honor of serving as a guest lecturer in my friend D’Arcy Randall’s poetry class at the University of Texas. D’Arcy asked me to address my editorial work, my efforts at Borderlands, and my own writing. When I thought about how I balance those, and how each feeds my creative life in different ways, the following essay came forth. Many thanks to D’Arcy for letting me be part of her class!

How many of you work on your poetry every day?

How many of you struggle to balance your creative practice with the rest of your life?

How many of you feel guilty if you don’t work on your poetry every day?

How many of you narrow definition of what it means to work on your poetry??

How many of you have a number of shoulds around your creative practice, such as, I should write X number of lines per day, or I should have published a book by now?

Where did those beliefs come from? Where did you learn them? Where did you hear about them?

What convinced you to believe them?

I’ve wrestled with questions like these for much of my adult life. I wrote reams of poetry in middle and high school (with maybe one poem a year worth remembering), but when I got to college, the demands of academic life changed my relationship to my work. At Kenyon College, you couldn’t just sign up for creative writing courses; every semester, you had to submit a writing sample and be selected for workshops. Workshop sections only had 10 slots, and as you’ve probably guessed, there were way more applicants than available seats. By the time I was a junior, I in the midst of my first bout of creative burnout from the stress of having my ability to earn a creative writing concentration determined by constant auditions. I focused on literature instead, and as I moved toward honors courses, poetry became something I worked on in the summers, if at all.

What I didn’t realize then, what I wouldn’t learn until years later, was that the narrow way I defined my creative life—through publishing credits, through the approval of professors, through comparing myself to my peers—was a self-limiting way to go about creative practice. That believing the only way I could call myself a poet was through generating fresh, publishable work on a regular basis was causing more anxiety than inspiration. That being hyper-focused on my own work was cutting me off from the benefits of immersing deeply within a literary community.

When I was 26, I challenged myself to write a new poem every day for a year. I managed this not just for one year, but three. Part of the reason I kept going was because I was so inspired by poet Nathan Brown, who has been writing a new poem every day for well over a decade. However, there came a point where I gave the practice up not because it was too hard, but because it was no longer helping me create the work I wanted. Focusing on creating a brand-new poem every single day didn’t give me the space for revision. Nathan’s practice serves him, but just because it works for someone else doesn’t mean it has to work for you. You do not need to be a slave to the writing.

Don’t worry if your writing practice changes over time. Some people will find one practice that works for them through their whole lives. For most everyone else, our practices will evolve as we evolve. I think most of us will actually benefit from being adaptable in our writing lives. Try letting creative practice fit around your life, rather than trying to adapt your whole life around creative practice. Changing doesn’t mean that you’re lazy, or that you’re not committed. It means you’re willing to meet yourself where you’re at, and adjust so that you can be creative in the midst of life’s inevitable fluctuations.

Don’t worry if you go through a phase of life where you don’t seem to attend to poetry at all. I think the idea that we must engage with our craft the same way every single day is unhealthy for most poets. Yes, there will always be a small number of people in the world who do that, and good for them. That’s not the reality for all of us, nor should it be. There are times when we need to step away from our work completely in order to recharge.

Times when I went through long stretches without writing poetry: the second half of college; my first graduate program; my first full-time job, in which I worked over 60 hours a week; after I got hit by a car and had a brain injury; after one of my closest friends died of cancer at 36; after finishing my MFA in poetry.

You don’t have to stop writing in response to difficult life situations. But sometimes, you will want and need to push the pause button. And there are other times when you will want, in fact you will need, to write through stressful situations. Poetry was my lifeline during the months when I was going through a divorce. That was one of the most productive times of my poetic life.

If you get an MFA, there’s a good chance that you will want a long break once you’re done. It happened to me, though I went into my program believing that it couldn’t. After three years, though, I was creatively exhausted, and needed to turn my attention to any and everything else. It took me about a year to recover. Some people need even longer.  

Not that you only need to take a break after an MFA. There may simply be times in your life when poetry doesn’t speak to you. That doesn’t mean you’re no longer a poet. That doesn’t mean you’re not a failure. The whole world is full of ebb and flow. If the soil in the Midwest didn’t freeze every winter, farmers would have a tough growing season the next year. The Earth needs to freeze. On the surface, you see a field lying fallow, covered in ice and snow, nothing growing. Beneath the surface, however, as the soil rests, there’s a flurry of microbial activity that we cannot perceive. During the time of freeze and rest, the soil regenerates and restores itself, preparing for the spring and the next planting season. Sometimes, our creative lives are like that. Sometimes, we need those fallow periods, and it doesn’t do us any good to compare ourselves to someone else’s publication record, writing practice, or success.

While I’m back to writing new work and submitting a manuscript, these days, makes up a small portion of my creative life. While I was ostensibly avoiding poetry, I became administrative director of Borderlands: Texas Poetry Review. Most of my duties entail nitpicking over budget spreadsheets and applying for grants. I don’t even work on the manuscript until it comes time to do the final proof. If you want to help others share their work, know that it’s both immensely rewarding, and that there’s a lot of unglamorous tasks. Both of those things can be true. It’s not either/or. The work I do for Borderlands still feeds my creative spirit and my literary life. It kept me connected to poetry when I could write.

I’ve co-edited the Texas Poetry Calendar four times now. The work of an editor is quite different from that of an administrator, and has been a wonderful educational experience. Being on the editorial side of things made me more patient with myself as a writer. Each calendar has room for approximately 100 poems. We usually get at least 300 submissions, so roughly three times as many poets as we can even include. Poets can send up to three poems. While some poets just send one or two, most poets send three. My rough estimate is that we end up reading around 800 total poems. So we can only take an eighth of what we receive. I say this not to leave you feeling either overwhelmed at the thought of reading, or demoralized at your chances of getting published. As an editor, I’ve learned just how simultaneously difficult and rewarding it is to read through hundreds of poems and narrow it down to a small selection. The frustration of having to turn down a lovely poem because you’ve just gotten too many focused on hurricanes, birds, or Emily Dickinson (these were the three themes Zoë Fay-Stindt and I found overrepresented as we edited the 2020 calendar). Some thematic confluences are easy to predict: as Gulf Coast hurricanes get more frequent and severe, we find more Texas poets working through their fears and traumas in their poems. But not all of the manifestations of collective consciousness are easy to explain, such as the plethora of poems invoking Dickinson.

After spending so much time on the editorial side, I’ve learned that sometimes good poems get turned down because you can only have so much work about one theme in any given issue. Those of us who still work in print are bound by the limits of how big the journal can be—and some of that consideration involves people on the management side thinking about how much the print run is going to cost. Robert Graves said, “There is no money in poetry,” and it’s true that most of us don’t make a living at it. That being said, when you’re producing a volume, you are forced to reckon with ostensibly unpoetic things such as finances. Being aware of those limitations, experiencing them firsthand, has helped me take the submission process less personally. I still get disappointed when I receive a rejection, but I’m also aware of just how many factors went into making that editorial decision, so I can handle that decline notification with more grace than I have in the past.

Side note: my biggest piece of publishing advice is to read the guidelines, and then read them again, and then read them at least one more time before you prepare your submission. Double- and triple-check to make sure your work meets all the guidelines. Yes, sometimes some editors will give you a pass. But if you’re editing for a publication and can only take 1/8th of the poems you have to read, you’re probably going to be a stickler. I know that I am. You increase your chances of success by being fastidious about following directions. I’ve actually found this to be true in most areas of life.

Yes, things like having a day job or doing errands take time out of your day that you cannot necessarily devote to poetry. Yet I don’t think it’s always helpful to think of these things as hindrances to poetry. Of course, there are some really soul-sucking day jobs that leave you feeling mentally and creatively bereft. I’ve had a few of those, and I still remember what it felt like to put in an 8- or 10-hour day and then come home too worn out to even think about my own work. Once I got out of those jobs, though, I began to see the ways in which my day job, though it takes up a large portion of my day, really frees me up to write poetry. Not all of us want to be a starving artist. I found that my creativity flourished when I was financially secure, and dried up when I was living through periods of unemployment, underemployment, or general financial scarcity. Having a steady job that allowed me to meet my basic needs actually facilitates my creativity, because I feel relaxed. I’m not worried about making rent, and I have the income to go to festivals or afford workshops. Yes, that’s 8, 10, or sometimes even 12 hours a day I don’t have available for writing. It’s also a way to give me the stability I need to write well.

Wallace Stevens sold insurance. William Carlos Williams was a doctor. Art is not a zero-sum game. Yes, you can go too far in either direction. If you get too busy and deplete yourself, you won’t write. But once you find a balance (which admittedly can take a few years), your rich external life can inform your poetry in ways you never imagined. Wendy Barker’s collection One Blackbird at a Time is a book that draws inspiration from her years of teaching. As an educator myself, I love this book, because I feel seen and understood by a fellow educator. Phillip Levine wrote stunning work about his blue-collar jobs. Austin poet Cindy Huyser has a chapbook of poems all about her time as a power plant operator. If life itself is the source of poetry, than many of us are made better poets by going out into the world and working for a living every day.

Early in my poetry education, I somehow got sold the idea that a poet was someone who spent most of their time in isolation, the proverbial starving artist against the world, all alone. Ultimately, the idea of an almost monastic creative existence ran so counter to my personality that I spent most of my college years wondering whether I should try to be a poet at all. Yes, all artists do need their solitude. Impressionist painter Mary Cassatt said, “I can live alone and I love to work,” and I agree that poets, like painters, need to be comfortable with long bouts of solitude. I also believe that the life of poetry is found within community.

You can be deeply immersed in your poetic life without having to produce a new piece of writing. Former Texas Poet Laureate Karla K. Morton wrote that she spends three to five hours every day working on poetry, but that doesn’t always entail writing new work. She says, “If I have nothing new in my head to work on, I pull out previous work and begin editing. I devote some time to reading other poets’ work. Or I work on deadlines for sending poetry out or on upcoming poetry projects. The administrative side of poetry takes more time than we would like, but for those who want to be published, it must be done.” I love Morton’s broad, all-encompassing approach to working on her art. We need to make time for revision and for those administrative tasks. We need to leave time to get inspired from other peoples’ poetry. I find also great value in going to readings, and otherwise involving yourself in the larger creative community. I believe that a creative life is best lived when a poet is able to take a well-rounded approach: balancing their own writing with appreciating the work of others, and balancing a focus on individual artistry with an engagement with the rest of the world.

Nor does all community interaction have to take place in a physical location. Emily Dickinson is famously regarded as a recluse, and yet she had a rich life of written correspondence. As someone who remembers life both before and after home internet, I can say that while I prefer face-to-face interaction, I also have made some of my closest friends and had some of my best collaborations as the result of online interaction. Whether corresponding on paper or through a computer, your community does not have to be defined just by your neighborhood, school, or city.

Of course, there’s no one-size-fits all approach to creative practice, so take the parts of this lecture that resonate with you, and leave the rest. Just remember that much of the writing advice you’ve heard works for some people but not for others, you can change your writing practice whenever you need to, and that your poetry does not have to have an adversarial relationship with the rest of your life.

I believe the best gift you can give your creative life is to find a way to be part of your literary community. How that works into your life is up to you. Whether it’s in-person or online, whether it makes up the bulk of your writing activities or just a tiny portion, you get to decide what role you’re going to play, and how much energy you’re going to contribute. I’ll conclude with a few suggestions that I’ve found useful in my own life.

Ways to Live in Literary Community

  1. Attend open mics and read your work, even if you are afraid.
  2. Attend open mics and just be an audience member.
  3. Challenge yourself to attend one reading or open mic a week for a year. If that’s too intimidating, try it for six or three months.
  4. Go out for dinner or coffee with poets after an event. Or share a potluck together beforehand.
  5. Be sure to tell people what you love about their work.
  6. Promote the work you love.
  7. When people compliment your work, accept their praise with grace.
  8. Give fellow poets who don’t have cars rides to and from events, especially those that take place out of town, when they can’t rely as easily on transportation.
  9. If you have a spare room or couch, offer to host out-of-town poets visiting for events.
  10. Try new things to keep inspiration fresh. Attend readings or talks outside your area of interest. Try a new art form. Get out of your creative comfort zone.

Register for Poetry March Madness 2015


March Madness is all about elimination. The competition winnows out teams one by one until only the best of the best remains. The games are thrilling and sometimes heartbreaking, but it’s the quick elimination of the weaker teams that ratchets up the competitive drama.

Many poets struggle with revising their poems, especially when they have to cut lines or stanzas. Although we know a poem could benefit from pruning, our attachments to our work interfere with our ability to lose the words that weigh a poem down.

In this online workshop, you’ll spend two weeks trimming the excess from your poems. You’ll eliminate bulky lines and unnecessary words. You’ll learn to let go of attachments to the phrases and stanzas that don’t really belong. And you’ll get practical advice for decluttering your space (whether it be hard drive or desk), as well as how and when to let go of the poems that just aren’t taking off.

In April, when it’s National Poetry Month, many of you will try to write a poem every day. Let’s spend the weeks leading up to that shaping, polishing, and revising our old material.

What you’ll get:

  1. Prompts to help you revise and condense your poems.
  2. Advice on how to declutter your hard drive and writing space, organize your work, and let go of drafts that aren’t working.
  3. Intensive one-on-one critique of two poems throughout the beginning, middle, and end of the workshop, guiding you through multiple stages of deep revision. Critiques available via email, phone, or Skype/Google Hangout.

Cost: $20 (Note: Nobody will be turned away for inability to pay. Please contact me at if you need to make alternate arrangements.)

To register:

  1. Fill out the online form:
  2. Submit payment via Paypal to (If unable to use Paypal, please contact me to set something else up.)

Frontera Fest Special!

Last month, I had a one-act play I’d written produced as part of Frontera Fest, a local theatre event. It was quite an event, and even if we don’t make Best of the Fest next week, I’ll be very happy with how things went. But that’s the subject of a longer post for later. For now, I’m happy to announce that I’ve published an e-book version of the script. (There will be a print run sometime later this month.) And for the duration of Frontera Fest, it will be available for just $0.99!

Hand in Unlovable Hand is currently available at the following online retailers:

Or, you can buy direct from Payhip:

This offer is only good until the 15th. After that, the price goes up. So get it while the getting’s good!

(Note: This play contains mature themes and is not suitable for all readers/audiences.)

Pulitzer Remix, Weeks 3 and 4.

April has been a busy month, with little time for blogging. So I slacked off on linking to the Pulitzer Remix poems. But it’s the last night of this project, so time for one more roundup!

April 15th: “Stranger

April 16th: “Break Free

April 17th: “Open Window

April 18th: “Ennui

April 19th: “It’s not being sure that keeps him alive

April 20th: “We are all trying to leave our bodies behind

April 21st: “Kitchen

April 22nd: “For one thing

April 23rd: “Summertime, and the living is…

April 24th: “Scene

April 25th: “Summer, Ending

April 26th: “On the subject of her martyrdom

April 27th: “A Hot Thing

April 28th: “Financial Times

April 29th: “She couldn’t get over the city

April 30th: “High Summer

Pulitzer Remix, Week 2

Over at last week’s Pulitzer Remix roundup, Drew Myron asked me to describe more about the Remix rules and the composing process. And I’m happy to oblige!

The two big Pulitzer Remix rules are as follows:

Each poem you produce  should be created from words and phrases that appear in your Pulitzer Prize-winning source text. You can rearrange terms and make changes such as modifying verb tenses, adding plurals, inserting pronouns, etc. but should not deviate wildly from the original text to produce poems “inspired by” the novel, for example.

Poems you produce must alter the source text in some substantial way. You should apply one of the techniques suggested in the “strategies” section — or one of your own invention — to produce a poem whose language and meaning differ from that of the source text. This is in adherence to section 2 of the Code of Best Practices in Fair Use for Poetry. Poets who incorporate long unaltered passages from their source texts into their poems risk being removed from the project.

The editors suggest the following strategies (though of course, we’re free to make up our own):

Select and rearrange. Choose interesting words and phrases from a section of your source text, then rearrange them into a poem.

Black / white-out.  Use a magic marker or white-out pen to erase consecutive sections of your text, leaving words and phrases behind that make up your poem.

Write a poem using only dialogue spoken by a specific character. For example, if The Great Gatsby was your source text, you could write a found poem from only the words spoken by Jay Gatsby, Daisy Buchanan, Nick Carraway, etc. during the course of the novel.

Cut it up. Photocopy pages from the text, then cut the words and phrases into strips. Put them in a bag, shuffle them up, then draw them out randomly and rearrange them until you have a poem.

Get technical. Use online tools like the ones detailed below to help scramble and rearrange your text in interesting ways.

I’ve been using the black-out and “select and rearrange” (though I’ve been calling it cut-up….oops) methods so far this month.

For the black-out poems, I start by pulling a page out of a PDF. I scanned about 40 pages of text using an app on my phone, and if I want to work on some black-out poems, I pull out the document and print out the number of pages I need.  Usually, I start by blocking out the proper nouns, since I have yet been interested in writing a poem about a particular character (unless you consider the house itself a character, and then I wrote one last week). From then on, it’s a matter of reading the page over and over and over, penciling out bits at a time. I start small, with conjunctions or adverbs that strike me as irrelevant, moving from individual words to entire sentences. When the piece is done, I pull up the digital file and black everything out using Photoshop, which looks better than my pencil work. The black-out poems have been interesting because they remind me how difficult it is, still, to cut things from my poems. They also reinforce that sometimes, excision is the best route to completion.

For the cut-up poems, I have roughly 20 pages of typed-up sentences and paragraphs from Beloved that I thought might be useful in some way. When I sit down to work on a piece, I shuffle through the pages until I find something that resonates me either thematically or linguistically. I then keep rifling around and pulling lines that builds on the original idea, rearranging as I go. The final lines get taped into my notebook, and I type everything up.

So that’s the gist of it. Check out the poems below.

April 8th: “Lady of the Lake

April 9th: “Return to Form

April 10th: “Ignorance was bliss

April 11th: “Victory of the Soul

April 12th: “Empowerment

April 13th: “Pleasure, Affirming

April 14th: “Springtime Plea

30/30 Project, Days 13-27

Yep, I skipped an entire week of reporting. Blame real life getting in the way of blogging. But I’ve had a fun two weeks. There are some days when I feel drained at the prospect of writing an audience-ready poem before midnight. But I’m still having a great time, and I love getting to know the work of my fellow participants.

One of my favorite experiences so far happened on January 24th when, instead of writing our own poems, we collaborated on a renga via email. I love the way the poem moves from an exterior focus to an interior, domestic scene.

Inspirations over the past two weeks: high school French, the dreary weather (which seems to be on its way out, thank goodness), having to kill some pests and feeling guilty about it, Blas Falconer’s “Teaching Imagination” exercise in Wingbeats, Andrea Hollander Budy’s “The Postcard Poem” exercise in Wingbeats, the memory of driving through Waco at 7 a.m. on a Sunday in December, Susan Terris’ “Twenty Lines for Titles” exercise in Wingbeats, grief/death, Apple’s end-user license agreement, hair, a bread recipe, the memory of seeing Saddam Hussein being executed while I was standing in line at Walmart, the possum that invaded my yard in the middle of the day, sneezes, William Carlos Williams, synonyms, and the haiku workshop I attended this weekend.

Katerina Stoykova-Klemer didn’t have time to read our poems on the air on her January 18th show, but she did mention my chapbook (which is still in pre-order, by the way)! She was able to share our work throughout the hour on the January 25th show. I love hearing our poems read aloud.

I have just under a week left in the project. Please donate to Tupelo Press!

30/30, Days 6-12


How are we nearly halfway through January already? That means I’m nearly done with the 30/30 Project. This week was a little tougher than the first one, but I’m still having a great time.  And I’m definitely still enjoying the work of my fellow participants. Katerina Stoykova-Klemer read a selection of our poems on her radio show again this week; click here to listen to the archive (the first five poems are read starting at minute fourteen, and the others at minute thirty).

Inspirations this week: Hoa Nguyen’s “Mind is Shapely” exercise in Wingbeats;  the cold, rainy weather; Jenny Browne’s “Love Letter to a Stranger” exercise, also in Wingbeats; getting hit by a car in 2010; airglow, and photos of it appearing in Texas; Blas Falconer’s “Teaching Imagination” exercise, also in Wingbeats; Donato Creti’s Cleopatra (see picture).

(And no, Dos Gatos Press isn’t paying me to plug Wingbeats all the time. It’s just my go-to guide when I’m stuck and need some motivation. I’m so glad the press is at work on a second volume.)

Like the work we’re doing? Want to support Tupelo Press? You can donate here. And it doesn’t matter how much; every little bit helps.

And we have pre-order!


That’s right! We’re Smaller Than We Think We Are is now available for pre-order. Finishing Line Press is offering a shipping discount for anyone who reserves a copy between now and February 27th.

I’ve spent today pretty much just bouncing off the walls. If I’m this excited now, I can only imagine how hyper I’ll be when the book is actually published in April.

The cover photograph is my own, taken in the Santa Elena canyon in Big Bend about two years ago. I knew for a long time that this would be my first choice for the cover, and I’m glad the good folks at Finishing Line agreed.

I have a lot of people to thank for their help. Abe Louise Young for being my mentor. My friend Savanni for taking the author photograph used on the website and on the back cover (you can check out some other photos from the shoot here). Kelli Russell Agodon for writing such an informative blog post on how to take good author photos back in 2010. Cindy Huyser, Drew Myron, and Scott Wiggerman for writing blurbs. The Austin Writergrrls for being the best cheerleaders ever.

I’m a very lucky poet.

First Project of 2013: Supporting Tupelo Press


I love Tupelo Press. I love their chapbooks. I love their broadsides. They’re an all-around excellent small press, and like most small presses, they’re struggling to stay viable in a weak economy, where poetry is not the top priority for most people. When they began the 30/30 Project in December 2012, I knew I wanted to be a part of it. I already write regularly. What better way to support a press I love than by contributing poems to their fundraising efforts? So I was thrilled to get an email from Tupelo that I would be one of a cadre of poets contributing to this effort in January.

So instead of writing my poem a day and not worrying whether it’s great or rough, I’ll be honing a piece throughout the day. The poets participating in 30/30 don’t have to put finished poems up on the site, but my intent is to put up what I’d consider solid drafts. That is, the poems might not be finished, but they’d be strong enough that they’d be ready to take to my critique group or test out at an open mic.

So here’s how it works: to support the press (and support me in my literary marathon), go here to donate to Tupelo Press. You can donate whatever you want — any little bit helps. And, if you would be so kind, please put my name in the “Honor” field at the bottom of the page to indicate you’re donating on behalf of my marathon.

Plus, all donations are tax-deductible, meaning you’re already getting a head start on your tax write-offs for 2013!

Thanks so much in advance for supporting my work and for Tupelo Press.


Time for a victory dance

The screencap above is the Scrivener corkboard view for my next poetry manuscript! I finished the very first full draft about an hour ago. The working title is Curved Tongue, Forked Road, and I’m pretty sure it’s going to stay that way for the rest of the revision process, though I’m open to the possibility that it might change.

The process so far

These are poems I’ve been writing since I made the final selections for inclusion in my chapbook. Once that was done and I started sending out We’re Smaller Than We Think We Are, every poem I wrote was considered for possible inclusion in the next book. The writing process thus began in late August/early September 2011. Since I have the practice of writing a poem a day, I began to generate possible poems pretty quickly. That’s not to say that every poem I have written per day has been worth considering. I think only about 10-15% of the poems I write I consider worth revising, submitting, or including in a book, and not all of those even end up going places. Still, if you’re drafting one poem a day, you get to the potential good poems faster than you would otherwise. The small percentage of poems that made the cut got put into a separate “for collection” folder.

After that, it was a process of writing and waiting. Not just to accumulate enough poems, but for a structure or theme to emerge. Several concepts bounced around in my head. First, I thought I’d be writing mostly about math and physics. Then, I thought I was going to write about physics and travel, and title it Everything in Transit (a title shamelessly stolen from a Jack’s Mannequin album.) Then, this past October, just after a year of writing and waiting, I developed the idea for a three-part structure, encompassing a few different things I’d been working on. This would allow me to have a unifying concept without feeling tied down to one single thing. 

As it stands, the book now has three parts. “Heartways” consists of poems I’ve written on the various incarnations that love takes (aka ways of looking at love). “Wordways” consists of the twenty-six abecedarian sonnets I’ve been working on since September, which are thematically organized around various locations within Texas (not just ways of looking at Texas, but ways of looking at words in the confines of this particular poetry form). And finally, I have “Roadways,” a section focused on travel poems. These are somewhat Texas-based, but less explicitly so than the abecedarian sonnets, and are more concerned with ways of looking at the road than looking at a particular place. The collection title Curved Tongue, Forked Road came to me almost out of the blue, and I like the way it invokes dialogue, exploration, and discovery.

Compared to getting my chapbook together, the rough draft of this collection was, in fact, easier. I didn’t develop my daily poetry practice until a month or two before I finally started getting the chapbook together. I didn’t know as much about revision as I do now. I didn’t have a critique group to help me out. And I certainly didn’t have any idea how to organize a book. Now, I am more disciplined, I have a critique group, and I have some sense of how the poems in a book should work together. While I still have a lot of work to do, having that knowledge made the first draft so much easier.

What happens next?

I have a long road of revision ahead. While a lot of the poems in “Roadways” are actually pretty near complete, the first two sections are much rougher. I’m going to work these poems by myself for a while, and then sometime in the spring of 2013, I want to work with a mentor to help me get the book in final shape for submission. I learned a lot working with a mentor for my chapbook, but I certainly don’t know everything. Plus, a full collection is a different beast from a chapbook.

Ideally, I’d like to have this ready to submit by June of 2013, but I also know I can’t rush the revision process. So I’m setting that as my ideal goal, but I’m also not going to get too attached to it. It will be done when it’s done. As long as I’m giving it the attention it deserves, as long as I’m performing due diligence, that’s what matters.

I know that when all is said and done, the final draft will not look like the current one. Some of the abecedarian sonnets will be rewritten from scratch. Some pieces that are in the first and third sections might get deleted. Poems I haven’t written yet, haven’t even thought of yet, might get slotted in. It will be an interesting journey, and I can’t wait to see what this book looks like when it’s finally done.