Embrace the melancholic voice completely in the drafting stages, to explore it for all it's worth. Then, in revision, privilege craft over pure feeling. Write the work that someone besides you will want to read.

Once a piece of writing gets to a moment where it's not going to get much better than it already is, marinate it. If you still like the piece, send it out and see what others think. If not, it's time to put it away and forget about it for a while.

I think I give far more space and play to avant-garde writing than any other contemporary textbook author. I want students to be able to decide for themselves which aesthetics are closest to their own. Still, while I try not to be a nostalgist myself, I suppose I am drawn to those poignant moments in our lives, rendered clearly and artfully.

In the 20th century, the position of the monarch as head of the Church of England was given a meaning which it never had before. You took the fact that the monarch was head of the Church of England to mean that the British monarchy was itself a religious or moral institution and the monarchy became a symbol of national public morality.

My biggest poetic influences are probably 20th-century British and Irish poets. So I suppose I'm always listening for the music I associate with that poetry, the telling images, the brevity. I want to hear it in my own work as well as in the poetry I read. However, I think I'm generally more forgiving of other poets than myself.

I admire writers who have the tenacity to write a blog, and I'm told by everyone that it's an important element in remaining visible in the online world. That said, I'm personally turned off by writers' blogs that do nothing but sing their own accomplishments.

I think my cheerfulness keeps my writing from sinking into the depths of melancholy, while the darker side keeps in check any literary silliness I might be inclined toward.

I do think poetry needs to invite the reader, especially when there are so many other distractions while reading.