Billy Collins Quotes

I write poetry. It comes naturally to me, but from a technical point of view it forces me to pay close attention to language and to scan.

As soon as I start to write I'm very aware, I'm trying to be aware that a reader just might well pick up this poem, a stranger. So when I'm writing - and I think that this is important for all writers - I'm trying to be a writer and a reader back and forth. I write two lines or three lines. I will immediately stop and turn into a reader instead of a writer, and I'll read those lines as if I had never seen them before and as if I had never written them.

I began to write poetry in high school, and would ride miles over sandy roads in the fine hills around Cedar Rapids, repeating the lines over and over until I had them right, making some of the rhythm of the horse help.

I sometimes talk about the making of a poem within the poem.

In working on a poem, I love to revise. Lots of younger poets don't enjoy this, but in the process of revision I discover things.

I haven't had writer's block. I think it's because my process involves writing very badly.

I can't picture myself starting out aiming to do anything or having much of an agenda.I think in writing a poem, I'm making some tonal adjustments, and it took me a long time to allow anything like fun into my poetry.

You can't write poetry on the computer.

When you work in form, be it a sonnet or villanelle or whatever, the form is there and you have to fill it. And you have to find how to make that form say what you want to say. But what you find, always--I think any poet who's worked in form will agree with me--is that the form leads you to what you want to say.

At the very beginning when I begin writing a poem I try not to think of the audience or anyone at all except for trying to get at the very center of what is driving that poem. In a way it's like analyzing myself.

I don't think there's any essential difference, at least for me, between writing poetry and writing prose.

Usually the poems are written in one sitting. There's always a groping towards some satisfying ending. But I'd say the hardest part is not writing. Once the writing starts, it's too pleasurable to think of it as a difficulty.

The subject of the poem usually dictates the rhythm or the rhyme and its form. Sometimes, when you finish the poem and you think the poem is finished, the poem says, "You're not finished with me yet," and you have to go back and revise, and you may have another poem altogether. It has its own life to live.

I began writing poetry when I was about 10. Bad poetry, but you start with bad poetry.

And what I've found over time is that for me to write a poem that I think is worthy that I can live with, two things have to happen.

I think writers, by nature, are more observers instead of participators. I am no where near as much of that as Bob Dylan. But when your antenna is up you are pretty fixated and there is not much room in your life for anything else.

I try to write every day. Sometimes the things come out well, and sometimes they don't. When they come out well you think, Wow, I must be really great; and when they come out poorly, you think you must be terrible, but the truth is that's how any process works.

I don't use a typewriter, I write longhand, with a pencil. Essentially I'm a horizontal writer. I think better when I'm lying down.

If writing is thinking and discovery and selection and order and meaning, it is also awe and reverence and mystery and magic.

It usually takes me 20 to 90 minutes to write a song because once I start, I don't stop. I like when it's really organic, so I try to knock it out in one shot.

Writing about craft has forced me to think more about my own writing technique, and to break down my process in ways that have been enormously helpful to me.

I had this bad habit of not writing out a first draft and going back. For me it was the first sentence, then the second sentence, and I might be several weeks on the first page instead of writing a draft and trying to figure it out from there.

I always write a draft version of the novel in which I try to develop, not the story, not the plot, but the possibilities of the plot. I write without thinking much, trying to overcome all kinds of self-criticism, without stopping, without giving any consideration to the style or structure of the novel, only putting down on paper everything that can be used as raw material, very crude material for later development in the story.

In playwriting, you've got to be able to write dialogue. And if you write enough of it and let it flow enough, you'll probably come across something that will give you a key as to structure. I think the process of writing a play is working back and forth between the moment and the whole. The moment and the whole, the fluidity of the dialogue and the necessity of a strict construction. Letting one predominate for a while and coming back and fixing it so that eventually what you do, like a pastry chef, is frost your mistakes, if you can.