If you were going to make sculptures of them, the swivel poems would be disparate objects all attached with hinges and the prose poems would be small sheep wrapped in extra wool.

I'm interested in concrete poems - anything that complicates the line between the written and the visual.

In my own writing, I've mostly abandoned end-rhyme, but wordplay is still a huge part of my process. I've written a series of mermaid poems in the last few years. The first one was called "The Straightforward Mermaid" which arose from my delight in that word combination. After that, I decided that future mermaid poems would have to be words ending in "d" or "t," which led to "The Deadbeat Mermaid," "The Morbid Mermaid" and so forth . . .

I am pretty interested in hybrid forms. I love graphic novels and I think there should be more graphic poems in the world.

Read widely (in and outside of your own genre), keep a notebook with you at all times. Do something that scares you every now and then. Try to locate your own frequency, knowing that one year your voice is on AM 532 and the next it's on FM 92.8.

When I have my students do erasures, I'm always amazed by the way their voice comes through, whether they're doing an erasure of a romance novel or an encyclopedia. Your sensibility will out.

When I get interested in a new topic I teach a class on it. There's a graduate seminar I teach in which the students and I try to expand the terminology we use to talk about poetry as well as expand our notion of what makes a poem - we read source texts on architecture, dance, photography, film and the graphic novel.