I mostly save over, which is not a good idea. But sometimes I have printed out drafts, and I save drafts.
What I do now is, if there's anything that seems especially interesting or valuable, I'll print it out and keep it.
I have saved emails, and even printed them out and given them to libraries
If I'm judging a contest or something, which I sometimes do, I ask for hard copies. Or if I get them on the screen, I print them because I just don't like to read on the screen. I mean, I don't want to sit up there on a hard chair. I don't want to look at that light
I really try, especially when I write long poems—which a lot of my poems are—not to impose any order on it until I've got pages and pages of lines. Then I'll print them out
The other thing I do—you might be interested in—is once a year I print out all the notes, all the computer writing I've done. … somehow it's important to me to have it all printed out. Because when I'm writing and in between poems, I'll often skim through the printouts of previous years, looking for pieces of poems I've started but never finished, or just stray lines that didn't go anywhere but now they do.
[The poems were] printed out on these long rolls of printer paper, you know? Those old-style printer rolls?
The print was really ugly looking… Dot matrix… It had these weird strips with holes that you tore…
when I was in Stanford and friends would send me drafts of poems as we do—as I do through the mail, or at Stanford, I would give something to a secretary—but I just have to go to someone who can print it out.
I'll print out whatever it is of whatever I have working on and I take that printed copy with me. Then, I'll just work long-hand with it, leaving the computer here. Then, I'll be back in 3 weeks, or something like that, and then re-incorporate it into what I've got here in my files
K. Silem Mohammad
I mean, I might [print out poems] on occasion with something like an essay because it's easier on the eyes. But the poems are usually shorter, and again because of the specific nature of the composition, in some cases, you'll see I can't revise it really well at all if it's not on a computer
Like most people, I print out very frequently, scroll over the print out, stare at with the scrolling on the print out is, create another fair draft either in my mind or on the computer
I used my 5.25" floppy to print out my book review. And it dawned on me, "You're going to have to get a printer."
Sometimes, but more often I'll get enough lines to want to make a draft. So I'll write them down and I'll look at those and recite to myself the different things I've written down, and then I'll decide to type it into a document that I can print out. And then I'll read that over and maybe get a new idea
Something came out of the typewriter that has a lot of ballpoint all over it. Now it comes out of a laser printer and it has felt pen in all over it.
I would print-out whatever canto I was working on, so: two or three pieces of paper, maybe one piece of paper. I had everything I needed. And then it was the metrical game
I just have to have the whole thing in my head at a certain point, but rarely before a whole draft is there. I will go to the computer and type it up, and then it helps to see it printed-out. I don't work on the screen. I print it out and then work on it some more by hand.
[The poems will] all be printed out in their final versions, and I'll mess with them. I'll mess with the paper. I couldn't do it any other way
I don't like to read off the screen. If I really want to read something-if it's an article in a newspaper or something-I will usually print it out
I wanted the print out, and I still want the print out. It still looks different to me on paper than it does on the screen and you want to know both those aspects.
You don't print out everything. At a certain point, you'll print it out. … It just seems crazy if there's just too many versions, and those all from before were all printed on very fine paper for the back. So I just turn them over and use them ...
Nance Van Winckel
[Ordering a manuscript] is another process of just printing out all the poems and just living with them. That takes, I don't know maybe a year, two, maybe even longer sometimes of experimenting with sections, you know, the arrangemen
Nance Van Winckel
I'll print out first the original scans in black and white, and that's what I carry around in my little notebook. I'm still fixated to the notebook there.
It maybe that eventually I'll get to a final version of that poem called "Ant" and eliminate the others, or I'll print them off, put them in a box, and eliminate them from the hard drive—just get rid of them so they don't clutter up or get in the way
I don't consider anything complete until I print it off and then send it off into the world
I also print things off relentlessly. Every time I get through a draft, and which is why I fill up so many cartons of paper. North Texas, those people who buy so many piles of writer's papers—especially Western writers—pay by the pound. So, you feel me? You aren't going to pay me anything for my electronic files. No, I'm printing these off. The paper is heavy
[In emails with Billy Collins] they're all these little short snippets, which I find myself compelled to come out and print off—the whole thread of the thing, one email at a time—to snatch a page that long. But I want to save those things. Something about saving them electronically doesn't seem like saving them on paper.