I am simultaneously drawn to and bored by articles, blog entries, musings on the writing process, rejection, writing rituals, and all the related minutiae. I suppose I am drawn to them to see how my own haphazard processes compare, and am often bored since we are talking about what amounts to sitting alone in a chair, in front of a computer screen, a typewriter, or with a pad and writing instrument. The excitement happens somewhere between brain and page, and I'm not sure there's a way to capture that excitement without dropping into the banal. Then again, counting the number of drafts a poem takes to "get there," or detailing how many times you've sent off a manuscript before acceptance, isn't all that fresh when you compare the hundreds or thousands of such chronicles that one finds online or in writing magazines like Poets and Writers. The finally product of all this busywork, one hopes, will turn out infinitely more interesting.
I am reminded of the Bob Dylan biopic I'm Not There, a flick I flat-out hated. I had seen so much potential in the concept only to be disappointed by a more-or-less conventional rock and roll story, more of the same drugs and broken relationships. It was more or less the same movie that Walk the Line had been. I realized that everything I liked about Dylan and Cash was in the music, and the personae that came through the songs. I don't care to know much about their personal lives.
All of that to preface a few comments on the writing life.
I recently threw in my two cents in a discussion on Facebook concerning editors' requests for re-writes. I think that fiction writers get these a lot more often than poets, but I have had a couple in my day. They were minor requests to fix little bumps in the meter or to tone down an overly sentimental line here or there. In each case the poem was made stronger, and I was grateful for the careful editorial attention. Others in the discussion treated the issue as deplorable, as high and mighty editors believing they know more than the writer. I can see how this must be true in some cases. But I think it should be taken on a case-by-case basis. I'm not so great that I can't take a bit of advice or a suggestion from an editor devoted to putting out the best work, and patient enough to help me get my own work there.