A Quote by John Barton

The experiment of the poem is mostly intuitive. I write the first draft, pulling in the various elements that interest me, in the hope that their being combined will lead to some kind of insight.
I see myself as a first-draft writer, so when I sit down to write something, the first draft is usually pretty close to the end draft. There will be some tweaks along the way, but it's not like I'll go 20 pages and throw it out and start again.
I consider a poem to be a kind of experiment where a number of elements are brought together under test conditions to see how they will interact to create meaning or relevance.
I always write on unlined typing paper and write the first draft in longhand, using cheap Bic pens. I try to write about four pages a day, which usually yields a first draft in six months. I don't plot ahead of time, so I'm flying by the seat of my pants for the first draft.
For me, intuitive thinking means associative thinking; intuition causes us to introduce narrative or figurative elements into a poem before we're able to explain why those elements belong.
First draft: let it run. Turn all the knobs up to 11. Second draft: hell. Cut it down and cut it into shape. Third draft: comb its nose and blow its hair. I usually find that most of the book will have handed itself to me on that first draft.
When you know the lyrics to a tune, you have some kind of insight as to it's composition. If you don't understand what it's about, you're depriving yourself of being really able to communicate this poem.
I see myself as a first-draft writer, so when I sit down to write something, the first draft is usually pretty close to the end draft.
The longer I write, the more important I believe it is to write the first draft as fast as possible. In drafting, I push myself so I am at the edge of discomfort...Later, it will be time for consideration and reconsideration, slow, careful revision and editing. But on the first draft I have to achieve velocity, just as you do if you want the bike to balance.
I write some country music. There's a song called 'I Hope You Dance.' Incredible. I was going to write that poem; somebody beat me to it.
I have experienced healing through other writers' poetry, but there's no way I can sit down to write in the hope a poem will have healing potential. If I do, I'll write a bad poem.
You all have learned reliance On the sacred teachings of Science, So I hope, through life, you will never decline In spite of philistine Defiance To do what all good scientists do. Experiment. Make it your motto day and night. Experiment. And it will lead you to the light.
The best advice on writing was given to me by my first editor, Michael Korda, of Simon and Schuster, while writing my first book. 'Finish your first draft and then we'll talk,' he said. It took me a long time to realize how good the advice was. Even if you write it wrong, write and finish your first draft. Only then, when you have a flawed whole, do you know what you have to fix.
It can take years. With the first draft, I just write everything. With the second draft, it becomes so depressing for me, because I realize that I was fooled into thinking I'd written the story. I hadn't-I had just typed for a long time. So then I have to carve out a story from the 25 or so pages. It's in there somewhere-but I have to find it. I'll then write a third, fourth, and fifth draft, and so on.
The world is always somewhat vicious. I take that as a given, but at various times in various circumstances that fact will be no more than a shadow or an echo behind some poem. Other times it will be more manifest. I try to write myself into articulations of half-felt, half-known feelings, without program. I'm always working toward getting my world and, hopefully, the world outside of me into a version that makes sense of it. Viciousness requires the same precision as love does.
Some writers find that they don't know their themes until they've finished the first draft (I am one). They then rewrite with an eye toward balancing on that tightrope: not too contrived, not too rambling; does what I'm saying about the world below me actually add up to anything? Other writers pay attention to these things as they write the first draft. Either way, an awareness of the macro and micro levels of theme can provide one more tool for thinking about what you should write, and how.
The very first lead work that I made is called 'Land Sea and Air,' and is the enclosure of primal elements within that kind of carapace of lead.
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