I'm a compulsive enjamber. I'm drawn to half-meanings created by the line, so that's definitely an element of craft that's always on my mind. And I'm a big devotee of the short line, of couplets and tercets, and of irregular stanzas with lots of white space. I've got to give the dense language room to breathe!

Many of the poems weave autobiographical elements with fabular or mythic materials.

I prefer assonance and internal rhyme to end rhyme. I mean, the sonnet already looks like a box. Best not to get too boxed in, though.

I like to work with multiple sections because they lend themselves to the structure of the poem: its intensifications and arcs and closures. I feel like working with smaller units feels more natural to the way I write poems.

Because I love narrative but am more lyrically inclined, I've learned that if I freight titles with narrative information (the who, what, when, where, why of the poem), I can get to my main interest, which is the language, and where it wants to take me. If I can establish the poem's occasion in the title, then so much the better for my freedom to associate.

I tend to employ braided narrative threads in the lyric, so often echoes (of phrases or images) will occur and will hit my ear so I can shape different resonances and shifts in tone.

I think the grotesque can inspire intimacy (it draws us in) as well as awe, like the cabinets of curiosities.