Anyone who is interested in crafting words will write poems.
I was not infrequently asked, as an English teacher, what made a piece of writing a poem. The only answer I found to be always applicable concerned the line. In a poem, it matters where the line ends and another begins. The poet uses the line as a form of punctuation, to nudge the reader in a particular direction. The beginnings and ends of lines of poetry are potent places.
If you transcribe a poem, you cannot (as you could if transcribing a piece of prose) copy it freely from margin to margin; you have to preserve the form even if the poem, operating without any poetic sound-effects, may sound like prose.
I am not sufficiently skilled to craft poems where the form is tight, where rhyme or rhythm play their parts and still the meaning is unimpaired. Instead, I play with euphony, word associations and the allusive patterns of meaning which the spare nature of poetry lends itself to.
Many of these poems were written for particular people or for special occasions. I hope that they also stand up to general scrutiny.
I thoroughly enjoyed writing Under the Shadow of Your Wings. Drama provides a wonderful opportunity to evoke character through dialogue. It is also a challenge to drive a plot-line forward simply through dialogue. Working in partnership with the original cast, to bring the script alive, was a real privilege.