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• ScenesWrite Bloody Publishing an interview with Derrick Brown

Could you briefly describe your press's history?

Write Bloody Publishing was started in 2004 by traveling poet and former paratrooper, Derrick C. Brown.

After spending the mid 1990s and early 2000s book touring throughout Europe and the US, (I) Brown realized the untapped potential in the contemporary poetry market for authors who were hitting the road reading in bars, theaters, and clubs. Authors had to learn the art of building fanbases by putting on entertaining readings.

I was seeing young, smart, page savvy poets, prose writers and poetry performers sell out shows, with only self-published, junky looking chapbooks available for sale. It seemed ridiculous and fateful that publishing houses—both mainstream or independent—hadn't signed on some of the best known, hardest working touring authors on the scene today.

I envisioned a publishing house that celebrated touring authors, a press that would give gorgeous, modern, ISBN-kissed books to those hard-working authors who rocked stages, crashed on couches and slept in vans. It also had to take only the best authors and market them to the world with a solid distribution plan.

This has been the guiding philosophy of Write Bloody: Let the poets and authors who tour be the marketing; let this publishing house be the source for a movement.

Write Bloody is now partnered with authors of over 135 titles, who are working together to make this vision come true. Brown's background in the independent music and indie arts heavily influenced the look and feel of Write Bloody. Utilizing rock album designers and photographers, Write Bloody's look is as fresh, hard-charging and unapologetic as its writers are.

Our authors are diverse and out there—in small record shops and large colleges, in strange theaters and swampy bars—doing readings all across Europe, Australia, Canada, UK and the United States. Going to a reading will one day be as common as going to the movies or to see a band and Write Bloody is currently paving the way. Our books are found in bookstores around the world from Guam to Berlin.

I started it in 2004 and had no idea what to expect. I am a pretty organized person due to my time as a paratrooper. Few realize what it takes to run a successful publishing company. I love the desperation that comes from having to sell books or face starvation.

How would you characterize the work you publish?

The work we publish goes for the gut. Our poetry is not afraid to be accessible poetry, funny poetry, queer poetry, haunting poetry, working class poetry.

We have no board, so all the decisions are made by Derrick. This allows us to make bolder decisions on who we publish. It also allows us to have total control of design, which is based on Derrick's taste in music. He uses a staff of freelance, editors, designers, proofers, and media marketers to push the work internationally. We are looking for that unique blend of authors who really care about their craft but are talented at sharing their work as well. It is much rarer than you think.

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Presses who have really boring readings tend to think our work is gimmicky or not to be taken seriously, but we are serious as a heart attack. We are one of the top-selling poetry presses in the nation because we care about the audience and are on their side. We never had a boost from academia. Our authors should care about finely tuned edits as well as building their following through live, engaging readings.

As a touring author, you learn a lot from having tour dates mandated into your contract. I've learned to address hecklers and most of our poets learn great performance skills the more they tour. Hecklers are common at comedy shows, sometimes now, poetry readings. To stop the show and to address them in a way that gets the audience on your side is key. It is such a fine line between making the audience feel awkward and making them feel like you know they care...

中文翻译：

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场景：写《血腥》，Derrick Brown接受采访

代替摘要，这里是内容的简要摘录：

• 现场写血腥出版对德里克·布朗的采访

您能否简要介绍一下您新闻界的历史？

《写血腥出版社》于2004年由旅行诗人和前伞兵德里克·布朗（Derrick C.Brown）创立。

在花费了1990年代中期和2000年代初的书籍在整个欧洲和美国巡回演出之后，（I）Brown意识到了在酒吧，剧院和俱乐部读书的作家在当代诗歌市场中未开发的潜力。作者必须通过有趣的阅读来学习建立粉丝群的技巧。

我看到年轻，聪明，精通页面的诗人，散文作家和诗歌表演者卖光了演出，只售出了自己出版的，看上去简陋的书集。不论是主流的还是独立的出版社，今天都没有签约一些最知名，最努力工作的巡回作者，这似乎是荒谬而致命的。

我构想了一个庆祝巡回作家的出版社，该出版社将向那些摇摆不定，摔倒在沙发上，睡在货车上的辛勤工作的作家提供精美，现代的，ISBN亲吻的书籍。它还必须只吸引最优秀的作者，并通过可靠的发行计划将它们推向世界。

这一直是《写血腥》的指导思想：让游历的诗人和作家成为市场营销者；让这个出版社成为运动的源头。

现在，Writing Bloody与135多个书名的作者合作，他们正在共同努力实现这一愿景。布朗在独立音乐和独立艺术方面的背景极大地影响了Write Bloody的外观。利用摇滚专辑的设计者和摄影师，Writer Bloody的外观与作者一样新鲜，刻板且毫不含糊。

我们的作者千差万别，在小型唱片店和大型学院中，在奇怪的剧院和潮湿的酒吧中，遍及欧洲，澳大利亚，加拿大，英国和美国的读书。有一天去看书和看电影或去看乐队一样普遍，而《写血腥》目前正在铺平道路。从关岛到柏林，在世界各地的书店中都可以找到我们的书籍。

我从2004年开始，不知道会发生什么。由于我是伞兵，所以我是一个有条理的人。很少有人意识到经营一家成功的出版公司需要什么。我喜欢因必须出售书籍或面对饥饿而感到绝望。

您如何表征发布的作品？

我们发表的作品是直截了当的。我们的诗歌不​​怕成为易用的诗歌，有趣的诗歌，奇怪的诗歌，困扰的诗歌，工人阶级的诗歌。

我们没有董事会，因此所有决定均由Derrick做出。这使我们可以对发布对象做出更大胆的决定。它也使我们能够完全控制设计，这是基于Derrick的音乐品味。他聘请了自由职业者，编辑，设计师，校对者和媒体营销人员，将作品推向国际。我们正在寻找真正关心自己的手艺但又善于分享自己作品的作者的独特组合。这比您想像的要少得多。

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那些读起来很无聊的新闻界倾向于认为我们的工作花哨或不被认真对待，但我们作为心脏病发作却是认真的。我们是美国最畅销的诗歌出版社之一，因为我们关心观众并站在他们的一边。我们从未受到学术界的提振。我们的作者应该关注经过微调的编辑，并通过生动有趣的阅读来建立自己的关注者。

作为旅游作者，您可以从合同中规定的游览日期中学到很多东西。我学会了对he徒进行演讲，我们的大多数诗人巡回演出的次数越多，他们学到的演奏技巧也就越多。喜剧表演在喜剧节目中很常见，有时在诗歌朗诵中也很常见。停止演出并以吸引观众的方式对他们讲话是关键。在使听众感到尴尬与使他们感觉像您知道自己在乎这两者之间，这是一条很好的界限。