The Bloodhound imprint published new works by respected crime novelists in their prime, such as Elizabeth Sanxay Holding, Anthony Boucher, and Lawrence Blochman.
Yet the editors and reviewers at Duell, led by Marie Rodell also specialised in detecting the talent in younger, unproven writers.
The most notable example of this is Dorothy B. Hughes, who had only published two volumes of poetry before her first novel The So Blue Marble, launched both her career as a novelist and the Bloodhound imprint itself.
Further examples include Lenore Glen Offord, Lewis Padgett, Veronica Parker Johns, and Sam Fuller, whose first crime novel, The Dark Page, was published by Duell in 1944 while he was still a corporal serving in the U.S.
While The Bloodhound Mysteries imprint had remained at the vanguard of publishing original work by American mystery authors all throughout the 1940s, beginning in 1949 this decreased dramatically as Duell began instead acting as the U.S. publisher for recent works by well known British crime writers, including John Creasey (writing as Anthony Morton), James Hadley Chase, and Nicholas Bentley.
Each volume highlighted a series of true crime stories related to a specific American City, told by a selection of well known mystery writers familiar with the region.
The project was spearheaded by Marie Rodell who received a special Edgar Award in 1949 acknowledging her work on the series as supervising editor.