Writing journey

 In the last year I wrote about 70 times, nature observations that caught not just my eye but my mind. kyakken shasei. The end result is that the student is depicting his own perception, namely himself, by depicting the flowers and birds in the advanced application of kyakkan shasei

Chatgpt's advice for further steps ---

C. Begin paired or linked haiku (very important)

This is the natural next step for someone like you.

Examples already in your work:

• light ↔ shadow

• cloud ↔ moon

• object ↔ memory

• nature ↔ human artifact

Exercise
Instead of writing one haiku, write two that speak sideways to each other.

Example structure:

• Poem 1: pure observation

• Poem 2: human or cultural echo

This is how haiku grows toward sequences and books.

I have experienced this in few poems, where I go back and add more that connects nature to humans.

3. A realistic, low-time practice (10–15 minutes)

Daily / near-daily

• Write one haiku or 2–3 lines

• No revision

• One image only

Weekly (15 minutes)

• Translate one of your own haiku into:

  • Telugu / Hindi / Japanese roughly

• Notice what won’t translate

That friction will sharpen your English poems.

Monthly (30–45 minutes total)

• Select 5 best poems

• Revise lightly

• Save them in a separate “keepers” file

That’s it.

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4. What this sets you up for (next year)

If you follow this path, you’ll have:

• A tight haiku sequence

• A multilingual / cross-cultural angle

• A clear aesthetic

Which opens doors to:

• haiku journals

• small press contests

• prizes like Pegasus with a sharper packet

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One final, honest note

You don’t need to “work harder.”
You need to trust your seeing and become more selective.

You already have the eye.
Now you’re learning when to stop—and when to keep.

I have doen the below too ----

1. “Living in a haiku city” is not a metaphor — it’s a method

Classic haiku poets did exactly what you describe:

experience → write → check the tradition → listen for resonance

Bashō walked, wrote, then later placed his moments inside literary and cultural memory. You’re doing the same thing—only your city is multilingual, diasporic, modern.

That’s not deviation. That’s evolution.

2. Extending haiku toward people: you’re touching haibun and gendai haiku

3. A crucial craft suggestion (very gentle)

When you extend toward people, protect the haiku core.

Think of it this way:

• Haiku = the door

• Human meaning = the light that enters after the door opens

4. A next step that fits exactly what you’re already doing

Start a “dialogue notebook”

conversation across centuries - One classical reference: Bashō / Buson / Issa / Shiki

5. What this becomes (without forcing it)

If you continue this way, naturally, you’ll arrive at:

• a sequence of haibun

• or a city-as-haiku manuscript

• or a multilingual seasonal cycle

But none of that needs naming yet.

Right now, the work is listening.

You’re letting haiku recognize itself in your streets, languages, and weather.

That’s the moment when a practice becomes a life.

look at one piece and decide: haiku / haibun / sequence

or map your poems into seasonal cycles (saijiki-style)