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LATEST RELEASE Eclectic Projects 006

Eclectic Projects 006 features more original fiction and non-fiction from Aurealis and Ditmar-award-winning author Peter M. Ball. Features four original stories, two original articles, and one ongoing serial. 

The front cover of Eclectic Projects 005, depicting a staircase winding up through a hellish underworld.

About Peter M. Ball

PETER M. BALL is an author, publisher, and RPG gamer whose love of speculative fiction emerged after exposure to The HobbitStar Wars, David Lynch’s Dune, and far too many games of Dungeons and Dragons before the age of 7. He’s spent the bulk of his life working as a creative writing tutor, with brief stints as a performance poet, gaming convention organiser, online content developer, non-profit arts manager, and d20 RPG publisher.

Peter’s three biggest passions are fiction, gaming, and honing the way aspiring writers think about the business and craft of writing, which led to a five-year period working for Queensland Writers Centre as manager of the Australian Writers Marketplace and convenor of the GenreCon writing conference. He is now pursuing a PhD in Writing at the University of Queensland, exploring the poetics of series fiction and their response to emerging publishing technologies.

He’s the author of the Miriam Aster series and the Keith Murphy Urban Fantasy Thrillers, three short story collections, and more stories, articles, poems, and RPG material than he’d care to count. He’s the brain-in-charge at Brain Jar Press, and resides in Brisbane, Australia, with his spouse and a very affectionate cat.

THE LATEST FROM THE BLOG

RECENT ESSAYS AND POSTS FROM THE ECLECTIC PROJECTS BLOG

Notebook Mojo

Last week, I ran a bunch of writing workshops for Villanova College here in Brisbane. Four workshops spread over three days, focused on writing a

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WRITING ADVICE

Over the years I’ve published a bunch of posts and essays designed to help aspiring writers. Here’s a selection you might find interesting:

Let’s Be Clear, There Is Privilege Behind My Process

It’s early. My eyes hurt. I have to go to the day-job today, when all I really want is to stay home and tinker with the opening scenes of the novel in progress. Maybe write the ending to one of the hundreds of unfinished short-stories on my hard-drive, that are waiting for me to figure out the endings. In short, welcome to cranky town. Population: me. I have it pretty good. There is a trend, among writers, to ignore the essential privilege of how they do what they do and how they came to do what they do as a semi-regular thing. This frequently means that readers will do the same, since they’re only seeing the process from the outside and filtering it through public statements. And since most writers are also readers, we can get some bat-shit crazy assumptions about the job. Case in point: a writer I know recently posted about his yearly word-count on Facebook. When someone pointed out it was rather a lot, my name came up as a comparison point on account of the fact that I wrote rather a lot myself this year. And yes, it was a joke, but I found myself sitting there thinking no,

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Action vs Results

There’s a really good post about process, goals, and identity over on LitReactor at the moment. It’s worth taking a gander at the entire thing, but I’ve grabbed the key take-away here: You can never take the process away, but once you attach your identity to goals and results you can’t control, it’s a recipe for disaster. Dying on the Mountain: How Goals Will Kill You and How to Focus on the Process, Fred Venturini @ LitReactor Or, to phrase it as one of my writing mentors did: you have no control over whether you get published or read. You do have control over how much you write and how much you submit. I keep circling around that particular idea, because it’s so similar to the key takeaway when I was seeing my psychiatrist about anxiety: don’t focus on what you think or feel, focus on what you do. So much of my anxiety is predicated on what Ellen Hendrickson has dubbed The Reveal — the fear that we’ll be judged, and that those judgements are right. It’s a fear that a thing that is fundamental to who we are will be taken away, because we don’t truly believe that

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How to Become a Writer

It starts with the question you get asked when you’re young, and the answer that comes into your head is something to do with books, maybe? It starts with being shy, and moving around a lot all through your childhood. It starts with the trinity of SF from your childhood: Star Wars, Buck Rodgers, and G-Force. It starts with David Lynch’s adaptation of Dune, which you saw far too young because you liked science fiction and there was no home video back then, so it wasn’t like you could just watch Star Wars again. It starts with hearing your dad read The Hobbit in his classroom. It starts with the soundtrack of your pre-teen years, inherited from your father: Jeff Wayne’s War of the Worlds, Queen singing Flash, the Rocky Horror soundtrack. It starts with your first William Gibson short story at fourteen and having your mind blown. With Neil Gaiman comics at sixteen, which blow your mind again. With Enid Blyton books all the way back when you first started reading: Mister Galliano’s Circus and The Magic Faraway Tree and The Adventurous Four and The Children of Cherry Tree Farm. It starts the first time you think consider that

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Four Basic Tenets To Govern 2016

I’m not making resolutions this year. I’m not making big, large-scale writing goals outside of the general idea that I’d like to write more and I’m going to start paying attention to what that actually looks like. What I am doing is establishing four basic tenets that govern my year. In essence, this ties back to my decision to abandon goals, ’cause none of these have an end-point in mind. Instead, they’re basic principles and philosophies behind how I do what I do, rather than where I want to end up. Effectively, a handful of new rules to live by, which will hopefully shuffle me towards the kind of life I’d like to have if I apply them regularly enough. TENET ONE: FINISHED BEATS FAST I have, over the last few years, put an extraordinary amount of effort into the act of trying to write more. What I didn’t do, all that often, was finish things. Nothing takes the thrill out of writing a couple of hundred thousand words in a year like the knowledge that a third of them are still crude first-drafts and the rest are only half-finished projects. For the coming year, I scaling my expectations way down

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Seven Things Writers Can Learn from Watching Suckerpunch (2011)

I’m going to be clear: I hate this movie. Loathe it. With the kind of intensity you get by capturing a couple of thousand suns in a nuclear reactor and focusing it into a very, very destructive kind of laser. When we first watched it, very early on in the #TrashyTuesdayMovie annals, it bored me to the point where I gave up actually commenting on the movie and just started live-tweeting 10 ways I would have my revenge on Zack Snyder for the creation of this film. Having re-watched the film in preparation for this post, I find myself revisiting said list and wondering if I was overly generous: 1: Dropped in a vat of piranha, who eat him slow motion while Army of Me plays over the action. #Suckerpunched 2: Getting kicked in the nuts, repeatedly, by film-makers who actually have talent #Suckerpunched 3: Being left to starve after having both legs crushed by a tank #Suckerpunched 4: Fatal katana accident. #Suckerpunched 5: beaten to death by angry Watchman fans wearing brass knuckles #Suckerpunched 6: After being deafened by a thousand idiots screaming “This is Sparta” at high volume #Suckerpunched 7: Rampaging hippos. #Suckerpunched. 8: Accidentally stumbling over a

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Today I'm feeling 20%

In the early days of my newsletter I posted a link to Maggie Steifvater’s journaling approach, designed to manage uneven energy levels after she contracted a long-term illness that kept her from writing. The original post is gone now—along with the rest of Steifvater’s Tumblr—but the lesson from it has lived with me on-and-off in four bullet journals now. The basic theory is this: before you plan the day, imagine the idealised version of you that’s operating at 100%. The perfect, focused, utterly ready to do all the things version of yourself. Then check in with how you’re feeling right now, and rate your current state as a percentage of that ideal. Or, to put it another way, acknowledge your limits and work with the energy you’ve got, not the energy you wish you had. It’s really easy to resent work when things are off-kilter with your health, whether its physical or mental. Resentment quickly leads to procrastination, which only compounds the problem. It’s so easy to hate yourself for being less than 100% that a 20% day can result in no work at all, instead of the 20% you might have been capable of if you’d framed your to-do

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