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 do love the prose poem because it's such a perverse and provocative little box - always asking to be questioned, never giving a straight or definitive answer.

When I start writing a poem, I can usually know quite early on whether it's a lineated or prose poem, but I don't think I can explain how. It's like deciding whether to wear a skirt or a pair of pants.

In my own writing, I've mostly abandoned end-rhyme, but wordplay is still a huge part of my process.

I let my narrative embroidering impulses take over in prose poems.

I am charmed by concrete poetry (but it's very hard to do well, I think) and in general by the idea of mixing the visual and the textual.

A lot of people are writing poems and don't realize it. They have this limited idea of how the poem should sound or what subjects it should address.