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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:

Three Quick and Dirty Time Management Hacks For Writers

I started reading time and project management books a few years back, when it became apparent that my ability to manage my studies was fairly limited. I ramped up my reading in 2011 when I found myself working in an organisation with multiple people for the first time, since I was pretty much used to working on my own or in small groups. Over the years I’ve tried a bunch of systems and kept stuff from each of them, but this list collects together three of the quick-and-dirty time management hacks that have been particularly useful to me as a writer. All are part of larger, more complex systems that have their own strengths and weaknesses, but I am pretty ruthless about keeping the things that work for me and searching for new options when something doesn’t. HACK ONE: PRIORITISE THE TASKS THAT UNLOCK OTHER PEOPLE’S CAPACITY TO WORK ON YOUR BEHALF I picked this one up from Dan Charnas incredible book about chefs, time management, and mise-en-place, Work Clean, and it remains the advice I turn to every time I found myself paralysed by indecision about what needs to come next. One of the base-lines of Charnas’ approach is simple:

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Know Your Enemy

I’m reading a book on social anxiety, because I believe in knowing your enemy. I wrote three different versions of this blog post and deleted them all, because sometimes trying to write about anxiety is enough to trigger my damn anxiety on its own. For all that it’s hailed as a solitary profession, the anxiety I feel about writing certain things is inherently social. It’s the fear that one’s secrets will be revealed, that the things you do will invite harsh judgement that is terrifying correct; you are actually stupid, or unlovable, or worthless, and now the con you’ve played thus far has been revealed for the sham it is. Society anxiety tells you it’s better to hide, or avoid the situation, rather than risk such exposure. Writing invites people to judge you. It hangs your ass out there for posterity, which means your mistakes and shortcomings can be rediscovered long after you left them behind. You may draft alone, just you and the keyboard, but writing only comes alive once other people read it. Opening yourself up to other people’s judgement is part and parcel of the gig. The vast majority of the writing tasks that set of my

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The Unenviable Hell of a Bad Breakfast

The Dancing Monkey 2016 request continues, with a topic that is near and dear to my heart: THE UNENVIABLE HELL OF A BAD BREAKFAST I am old enough to remember a time when Australia wasn’t a breakfast culture. ‘Course, I am old enough to remember a time when the arrival of McDonalds upon our shores was a big deal, and a time when a cappuccino was a fancy-ass coffee. We’ve grown up, in the last thirty years or so, and somewhere along the line we became the folks who are all about our goddamn breakfast. Try to get a group of friends together for dinner, in Australia, and you will have an endless array of maybes and alternate dates, everyone hedging their bets. Break out: “Meet me for breaky somewhere?” BOOM. Everyone is all fucking in. It helps that our cafes got really good at breakfast and coffee over the last twenty years. I can think of three cafes within walking distance of my house that will provide a kick-ass breakfast, and I don’t live in a particularly cafe-rich suburb of Brisbane. These are places that take goddamn pride in their breakfast menu. Places for whom simple staples like bacon and eggs or

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Don’t Hide the Brush Strokes

My friend Kathleen posted this to facebook yesterday and it’s one of those articles where I find myself reading and nodding enthusiastically. Artists frequently hide the steps that lead to their masterpieces. They want their work and their career to be shrouded in the mystery that it all came out at once. It’s called hiding the brushstrokes, and those who do it are doing a disservice to people who admire their work and seek to emulate them. If you don’t get to see the notes, the rewrites, and the steps, it’s easy to look at a finished product and be under the illusion that it just came pouring out of someone’s head like that. People who are young, or still struggling, can get easily discouraged, because they can’t do it like they thought it was done. An artwork is a finished product, and it should be, but I always swore to myself that I would not hide my brushstrokes. “MAD MEN” CREATOR MATTHEW WEINER’S REASSURING LIFE ADVICE FOR STRUGGLING ARTISTS, Fast Company Seriously, go read it if you’re an aspiring creative type. It’s loaded with useful things.

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Here Comes the Fear Again

Okay, point the first: Twelfth Planet Press has offered up free e-copies of their 2009 projectsin the name of getting folks to read them prior to the Hugo nominations at this years Worldcon in Melbourne. That means there are free copies of Horn up for grabs. Make of this what you will. (I should also mention that the inimitable Robert Hoge has started a campaign to get Australian’s nominated to the Hugo ballot, and he’s compiling a small list of recommendations for people who might be interested; the real action is over in the facebook group where everyone’s pitching in names). And so, point the second: February is the month where I combat The Fear again. It’s a stupid thing, The Fear, all the more stupid because it commonly manifests itself when things seem to be going right. People start accepting stories and asking for submissions and nominating me for awards and suddenly this little voice in the back of my head starts saying “you don’t deserve this” and “you’re going to fuck it up” and the next thing I know I’m sitting on top of a dozen half-finished stories and binging on coke and junk-food because it’s so much easier

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What Writers Ought to Know About Die Hard, Part Three

This entry is part 3 of 4 in the series What Writers Ought To Know About...

What Writers Ought To Know About…What Writers Ought to Know About Die Hard (Part One) What Writers Ought to Know About Die Hard, Part Two What Writers Ought to Know About Die Hard, Part Three What Readers Ought To Know About What Writers Ought To Know About Die Hard So I’ve been meaning to write the last three Die Hard posts for a couple of months now, transforming my raw notes into something readable, but my life was basically mugged by putting together the GenreCon program, then chairing panels at the Brisbane Writer’s Festival, then coping with the fact that GenreCon’s attendance kinda exploded, then actually running the con, then going to the UK, then watching my deadlines go boom, then moving then, then… Well, shit, I guess I’m out of excuses, and it’s time to finish this series off, albeit nearly three quarters of a year after it started. WHAT WRITERS OUGHT TO KNOW ABOUT DIE HARD, PART THREE Since it’s been a while, it might be worth going back to taking a refresher look at the posts regarding Die Hard’s Ongoing Metaphors and my notes breaking down The First Act. In fact, even if you remember the second post, go

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