Guest Blog Post by Rick Bursky
This is the beginning, looking for an image, sound, snippet of language anything that could launch my imagination into something that might hold my interest long enough to begin a poem. Just because this starts the poem doesn’t guarantee it will survive as the first line or even be in the finished poem.
Once I have the way in a begin collecting lines that might relate to the opening even in the most obscure way. At first blush, the new lines might only relate on an emotional level. But this is like brainstorming, there are no bad lines. I write them down, whatever I come up with, collecting a page or two of stray images of statements.
I look at what I have and assess the possibilities. Now I’m applying some rational logic to what’s on the page. I’m trying to see what lines I want to elaborate on, perhaps look for interesting words –– I might pick up a book of someone else’s poetry, read something and find a word I haven’t ever used in a poem and use that as the point of expansion. This stage is most emotional.
The cutting begins. I toss out the lines that stick out and haven’t found a way to cement themselves into the emotional heart of the poem. This is also where I begin to pay attention to the lineation of the poem, enjambment and whatnot. The look of the poem begins to show itself. This stage is all about craft.
The DNA of a poem is in the title. This is crucial and where the intent –– though not what started the poem –– of what I’ve put on the page announces itself. The title is the emotional introduction to the poem.
I ask some trusted readers, all accomplished poets, to read the poem and provide comments.
I have comments from my readers. And because some time has passed I don’t have any emotional attachment to the poem. I look at the comments and start revising, I don’t always use the comments but usually use most of them, or at least use them as questions to ask the poem. Revision phase is also craft, and is very clinical. It has little to do with creating art, it’s all about “writing,” sandpapering and clarity.
This is one of the toughest, if not the toughest phases. I have to decide if the poem is any good. Do I want to throw it away? Or harvest any of the lines for some other poem? Should I revise, shape or build again? Do I want to send it out? Do I want to put it in my manuscript? It often take weeks, months or longer to answer those questions.