"Letters presuppose a sort of authenticity, and I truly believe that a story—no matter the form—needs to be authentic and believable.

"Sometimes I wish I had stories such as "I wrote my first published poem at three and a half!" or "I started writing stories at two!", but writing never came easy for me and is still not very easy for me.

August 29, 2008

If I were to say something like "'`GeneratingHype needs no introduction on this site," I would not be lying. And so, my introduction of William Brown (`GeneratingHype, or as many of use know him, Bill) will be brief: Bill joined deviantART in September 2006. Less than a year later, he was made a senior member due to his various contributions to the literature community. In February 2008, he became a Gallery Director, undertook several writing projects and continued to help writers in need. He stepped down from his post this August due to a promotion in his professional career. While he may not be able to spend as much time as he used to on deviantART, Bill will always be a memorable part of our community, and needless to day, we won’t let him go so easily.

Having worked with him for six months on the Artist Relations Team and on various projects in the past, it was a great pleasure to conduct this interview and learn more about Bill, and I think you will enjoy this, too.

The writer



^lovetodeviate: On deviantART, you are known by several epithets: the Doomlord of Literature, ex-Gallery Director of Literature, punctuation junkie, editor extraordinaire, educator, opinionated gay man, and a hundred others I'm missing. I'd like to talk to you about some of these, but first, tell us about your writing self. When did you start writing and how have you changed as a writer?

William Brown: My first instinct is to say I've changed dramatically as a writer, but the more I think about how I got started writing, the more I realize that's not necessarily true. I started writing creatively when I was nearly sixteen because I was terribly in love with a writer and wanted to impress him. I still write now, at too-close-to-thirty, for similar reasons. Before then, I simply wrote in journals—I have boxes and boxes of them, really. And I still write in journals now.

Sometimes I wish I had stories such as "I wrote my first published poem at three and a half!" or "I started writing stories at two!", but writing never came easy for me and is still not very easy for me. It is something I have had to work very hard at, which is one reason I have a ton of respect for young people who are working hard to improve.

LTD: In Bad Poetry, you wrote: "This is why writers rarely make it far in love; we spend our time having sex with words, remembering moments better as we wrote them than we do as we lived them. We spend our break-ups in tragic sentimentality, inspired to write out of bitterness and neglect, motivated by self-loathing and an unforgiving ego." Would you say that this is a personal belief of yours or simply the belief of the fictional character? Also, could you talk about this piece, since it is your most popular deviation?

WB: Bad Poetry began as an actual letter, but halfway through the first sentence it became something else entirely. In fact, when I first submitted it to dA, I submitted it as a scrap. `MSJames and ~Misplaced-Karma convinced me to place it in my gallery and then, a little while later, I was pretty floored to find my first Daily Deviation. I never could have anticipated the response it received, and I'm still shocked and humbled by it now--and maybe even a little embarrassed.

As for that paragraph—the one so many people seem to connect with—I think I identify most with the beginning of it: the sex with words, the remembering. The latter half (bitterness, self-loathing) probably came from how I was feeling at the time, but I wouldn't say it's something I believe in entirely or regularly represent. In the end I classify it as fiction but, like much of my writing, it's grounded in my personal experiences and emotions. Bad Poetry is the pinnacle of "In the Moment" writing for me—the best example I can come up with for defending sentimental writing.

LTD: But some people look down upon this sort of sentimental writing. How would you respond to the hierarchies set up by writers, readers and critics among different genres of writing?

WB: I don't really think there is much to respond to, in truth. People read for different reasons, and different people write to suit those different needs; it's why we have different markets. When you start defending something or responding to a critic, you are assuming that someone is making a good point against you. That's unnecessary here, as I've yet to hear a worthwhile argument against the "different strokes for different folks" concept. Sometimes, it's good to be sentimental—to connect on emotional levels with something that, while not perfect in craft, perfectly says what you hear in your heart.

LTD: Your selection of fictional letters is categorised under the label "A Dying Art". In relation to this, *BerylAlexandros asks, "You seem to like literature written in the form of a letter. Is there a particular reason for that that you can explain?"

WB: I think letter-writing keeps me honest. I also think it keeps me focused. And it is a dying art, especially with the advent of email. How many people write long, well-developed, meaningful letters anymore? I suppose I lied a bit above because, apart from journal writing and writing-for-him, I have also been an avid letter-writer. Letters presuppose a sort of authenticity, and I truly believe that a story—no matter the form—needs to be authentic and believable.

LTD: Here is a question from ^LadyLincoln: "What sorts of things inspire you to write?" Also, could you talk to us about one (or more) of your favourite works and how they came to be?

WB: I wish I could be creative here and really come up with something wonderful and deep, but I can't. I am inspired by things I have seen or experienced and by the people I love. As I often make the point of sharing, I have no imagination. I can't come up with a hundred new ideas for striking short stories or spectacular poems; everything I've written has elements of nonfiction in it, even if they're born from my actual fantasies or things I've known indirectly.

The perfect example of inspiration at work is in They Were Women Then. There is not one piece of writing in my gallery that I am more proud of, as it accurately captured everything I witnessed from the situation that inspired it. I prefer to let it speak for itself. I also appreciate Winter in Chicago; that letter, more than any other, still speaks to me.

The editor



LTD: Let's move on to your profession as an editor. What role do you feel an editor plays in polishing the work of the writer? Does editing mean different things to different kinds of writing (technical, academic, creative, etc)?

WB: Editing definitely means different things to different modes of writing but, in the end, most types of editing return to common formatting and grammar conventions. The extent to which you work with the text or with certain elements of the text, however, comes down to the type of editor you are.

When it comes to the practice of editing, I think it's important for writers to understand that an editor is not a proofreader. They are not there to fix or pick up on all your mistakes and, in fact, most professional editors who see an error-plagued text won't even be bothered to read the submission. Most editors have an expectation that the writer knows what the writer's doing. However, even the very best of us need help sometimes, and it's the editor's job to tell the writer the truth and make changes that improve the text without compromising its integrity. To do this, an editor actually has to immerse himself in the writer's style and balance what the editor knows of conventional correctness with what the writer is capable of achieving—and always with the end-product and the intended readership in mind.

Of course, writers tend to be rather defensive of their style—and editors tend to be rather defensive of their propriety and conventions—so achieving this balance is not always as easy as it seems.

LTD: In your own writing, do you find your inner critic interfering with the initial stages of writing? If so, is this beneficial to you or would you rather polish your work after a complete rough draft is made? In other words, what is the relationship between editing and writing for you personally?

WB: Not anymore, no. In order for me to learn how to write, I had to learn how to edit first—which is counter-intuitive to every school of writing out there but worked well with my Dysgraphia. I had to know and understand the rules before I could even begin to put words on paper. As I am writing, even in the initial stages, I write correctly—not because I am actively trying not to make mistakes, but because it is the only way I know how to filter my thoughts onto a page. This is why, when some people see my "rough drafts" or "unpolished" pieces, they express surprise at how "well" they are written. It also explains why I can often come across so formal-sounding, especially when I am trying to be very careful about what I am trying to say.

This simply means that I focus much more on revision than I ever do on editing, as I find I need more help and improvement with my content—and sometimes with my organization—than I do with my conventions. In fact, when I am asking for "Advanced Critique" on dA, I am often looking for content suggestions. If there's a typo or unintentional grammatical error, I will eventually find it, but everyone could use more feedback on what they are saying—their ideas—instead of seeing so many people just focus on how it's being said.

LTD: You are a self-proclaimed punctuation junkie. =Deep-Emerald would like to know if you think the interrobang should be brought back into the English language? Also, tell us why you stress the importance of correct punctuation usage so much?

WB: It is funny to hear of this being brought back because I am not certain it ever actually took off!

At first I want to scream, "No!" at this, but then I just glance at MySpace and shudder. The interrobang came about because people were using multiple ???!!! or !?!?!? in a row, and there was no conventional rule (other than "Please don't do it!") to regulate such usage. To fix it (and save type space), they came up with the interrobang, but it was awkward and didn't really catch on. It's actually very 'young' insofar as punctuation goes. I think it came about in the 1960s.

If anything will make people stop going ?!? in formal writing, I'm for it, but I don't think the interrobang is practical. It's not on my keyboard, and I'm not dedicated enough to go searching for the symbol. I can hardly be bothered to find the accent mark for my Es, at times, let alone find a new way to punctuate the end of my sentences.

LTD: As an editor, what advice would you give writers who are looking to publish their work? Can you give us a brief picture of the publishing industry today?

WB: Research your market: that's the best advice I can give. Too many writers go without agents or run into these things blind, and that more than anything else will ruin a person's chances.

As for the publishing industry, well—it's not a dying breed, it really is concerned with quality, and it appreciates innovation and marketability. It's not the enemy. Being bitter and disenchanted won't get you published, either, so you might as well come over to the Dark Side.

The Gallery Director and educator



LTD: Even before you became a Gallery Director, you were running a number of projects and contests, and were known as someone who had the community's best interests at heart. Was applying for the position of Gallery Director, then, a natural course of action for you?

WB: No, definitely not. In fact, I think agreeing to be Gallery Director was probably the most unnatural course of action for me. Sometimes, especially on dA, I believe that someone's symbol can be as much a hindrance as a help. I was very hesitant to accept the role, and I am still not sure it was the best thing for me or the community, but I appreciate having had the opportunity. Being the Gallery Director helped me to affect a larger and quicker change in how a sliver of dA Lit is run, and it also introduced me to some fine and wonderful individuals I'm not sure I would've had the pleasure of knowing otherwise. For that, at the very least, it was entirely worth it.

LTD: Being an ex-educator, was part of your plan on this site to train beginners in the craft of writing?

WB: Train, no—but certainly to cultivate various skill sets and encourage creativity. In fact, I think my greatest passion on dA is, and always was, helping growing writers to improve, gain more exposure, and earn decent feedback.

LTD: What advice would you give beginners who are looking to improve their writing?

Wb: Pay attention in school! The longer I'm an editor, the more I believe that you must know a rule to know how and when to break it effectively. Also, seek feedback and strive for honesty. Many writers are not honest with themselves. They are in love with their own words and ideas and stymied by those around them. I believe a writer should always be a tad self-conscious, not to the point where they prevent themselves from writing, but at least to the point where they question or doubt the worth of what they've said. You might not take anyone's advice or suggestions, but you have to be big enough to seriously consider them.

LTD: As a Gallery Director, you focused your attention on projects and the literature forums. What were you intending to do in these areas and do you feel you achieved some or all of your goals?

WB: My intentions were well-placed and miles long, but I do not feel as if I achieved any of my goals. That said, I do feel as though I helped to create an environment where they can be achieved at a later date. I do not need to be or want to be the dA Lit Miracle Worker. Instead, I want people to take the initiative and join an active, open community hellbent on helping each other improve. If we can get there and stay there, I'll be satisfied.

LTD: `dudewithbraces asks: "What was your favourite part about being a GD?"

WB: My favorite part of being a GD was working with Jenene, Aditi, and Ali. I am not sure the community realizes just how well these ladies work as a team, and I was absolutely inspired by their willingness to set differences aside and work toward common goals.

I also liked featuring work as Daily Deviations because it felt good to give exposure to pieces that would otherwise have gone unnoticed. I think there is a misunderstanding or miscommunication regarding DDs and our Lit community, but I am never certain how to address it without offending someone. That said, I am proud of each deviation I had the honor of featuring.

The person



LTD: You have been very open about your identity as an HIV+ gay man and as a Catholic. Frequently this has led you to make important socio-political comments in your journal and in the newsfeed system. Do you find the Internet an ideal place to voice opinions? Would you say there is a sense of vulnerability attached to publicly stating cherished beliefs, and if so, how should the individual cope with criticisms and backlash in such cases?

WB: Several years ago, the only person on the internet who knew I was HIV+ was my former partner; a few years before that, no one even knew I was gay. There are times, yet, when I prefer those days. I do not like to be the poster child for a cause or the hero of the downtrodden, because I am not someone to be pitied or admired or worshiped or adored. I am just one man trying to make the most of what I have left, and that is no better and no different than every other person out there trying to do the same thing with equal or lesser or larger issues. And that's not just lip service.

I do not find the internet an ideal place to voice opinions, because I believe the anonymity it provides also offers a false sense of security in both those stating the opinions and those responding to them. Sure, people say things on the internet that they wouldn't have the courage to say elsewhere, but we do not live on the internet. A person needs to learn that same self-assurance and evolve that same sense of ego in the real world, where they can't hide behind a screen, in order to be a successful, confident human being.

As for criticisms and backlash, well—big deal? People are going to hate. People are going to be obnoxious. People are going to attack your personal beliefs or lifestyle or intentions. And when you are a confident individual, when those people attack you in real life, you learn to be the bigger person. You understand how to brush things off and live the life you want to live. Criticism is going to come at you no matter who you are, and it'll destroy you every time if you haven't found peace within yourself. What you see on the internet, then, are people who lack that confidence in the real world, earn a moment of bravery in order to state their opinions on the web, and then become defensive or react passive-aggressively when those same statements are criticized or attacked—legitimately or otherwise. That's not a conducive environment for anything but drama.


LTD: Recently I learnt that you have a library of over 3,000 books. What kinds of books and authors could we expect to find in this library? Or rather, who do you like reading?

WB: My library is rather diverse, and I have the distinct pleasure of having read every book I own. This is why it has grown so large in recent years, as I've a hard time letting go of words. As for what's in it, well--a little of everything! I'm sorry to be so trite, but I couldn't even begin a list at this point. However, I will admit that the Iliad is my favorite work of all time, I have a special affinity for the Russians, I am sentimentally attached to the French existentialists, I could read Capote and Baldwin a million times, Borges makes my heart happy, Wilde amuses me, and Robbe-Grillet is a Master.

LTD: If you were to create a personal library of writers and/or deviations from deviantART, what would that library be like?

WB: Honestly, it would be like my Lit Favorites collection. I like what I like, and it's not always what other people like, but I collect texts that make me feel or connect to something I have experienced. And I think that should look different and be different for everyone. That said, *wordworks would have her own bookcase.

Thank you for answering these questions, Bill! Good luck with all that you plan to do.

Thank you, also, to those who sent in questions.

Helpful links

GeneratingHype’s deviantART gallery
Daily Deviations featured by `GeneratingHype
*WordCount
*fotoFRIDAY
*litNEWS

Up next

In September I will be interviewing `SparrowSong, yet another writer I admire greatly, and one who has been a great asset to our community. If you have any questions for her, please send them to me in a note. I will pick the most creative and interesting question(s) for the interview (with due credit, of course). Remember that I will be asking Audrey about her favourite writers, her influences and suchlike, so think of something out-of-the-box when/if you note me.

Cheers all!

-- ^lovetodeviate