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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:

Writing in the Age of Contagion

I’d like to talk a little about writing (and, really, just surviving) in the age of contagion we find ourselves in. This is a tricky subject because I loathe the impetus that capitalism puts on being productive at all costs, especially when you’re sick or stressed out. It’s the same impetus that makes COVID-19 so tricksy, because we’ve all spent far too long soldiering on at work while ill, and that’s seeped into the western mindset. On the flip side, writing’s important to me. It’s a big part of my self-identity and it’s the thing that keeps me calm. And, as I wrote in my newsletter today, a goodly part of the challenge in writing through the age of contagion isn’t working while sick, it’s working while the world is trying to scare the pants off you. The tactics that make it possible for me to write through the age of contagion largely coincides with the tactics I use to manage general anxiety, so it’s useful to give myself a pep talk as the world goes askew. So strap yourselves in, because this is going to be a long one. FIRST, LIKE AN INTERNET RECIPE BLOG, LET ME TELL YOU

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Raymond Chandler’s Lists

One of my favourite pages from Raymond Chandler’s notebooks, where he plans out a list of similes and descriptions that will later find their way into books. There’s similar lists scattered through the notebooks where he describes outfits, makes a note of potential titles, or golden comebacks for his dialogue. Once used, he’d go back and make a note on each list, so he wouldn’t repeat it in a later story or book. It’s easy to forget that writing is a multi-stage process involving ideation, actually putting the raw components of plot on the page, then layering in details like voice and tone that make the work unique. Often, writers approach this as a single task, sitting down at the keyboard and hammering words until a scene feels right. Reading through Chandler’s notebooks and realising you didn’t have to do all three at the same time was a revelation for me as a young writer.

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You Track Your Submissions (and Rights) Because Its Good Business

Yesterday I posted about tracking your unfinished work and the major advantage that comes from taking a story all the way through to the end. Today I handle the other half of Elizabeth @ Earl Grey Editing’s query: TRACKING YOUR SUBMISSION (AND YOUR RIGHTS) Tracking your unfinished works is a personal decision. No-one is going to care if you just shove all your work into a folder and forget about it, and it’s not going to affect anyone but you. You do it because it makes life easier. Tracking your submissions, on the other hand, is a core requirement of the writers business, particularly at the earliest stages of your career when you’re doing things on spec. Basically, this one is non-optional if you’re writing to have a career. When you submit a story or a novel, you record where it’s gone (ie the magazine and publisher) and when you sent it. When they send you a response – positive or negative – you record when it arrived. You do this for every story, every submission. You keep this shit up-to-date. The logic behind it is simple: editors will generally only look at something once. Unless they say the words

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Tips for Getting Analogue With Your Writing

If you take a quick gander at my Instagram feed, it should be pretty obvious that I am now an unapologetic notebook guy these days. A good 90% of my posts are basically me doing the pictorial equivalent of posting word-counts in a blog – tracking progress through a project by photographing page numbers. I do it there because, quite honestly, I have a pretty minimal number of Instagram followers and it’s less likely to piss people off, but also because I’ve come to appreciate the value of focusing on my process, rather than my goals. Occasionally I feel bad about doing this, but over the last week I’ve talked to a handful of people who have been inspired to the rock the analogue approach to their writing. And, since this wasn’t exactly a natural progression for me, I figured I’d put down a little advice. First, some background: I spent about fifteen years failing to write in notebooks prior to last year. I liked the idea of it. I could see the sense in working away from the computer. And, every year, there would be a sporadic attempt: I’d buy six packs of Spirax notebooks or legal pads, do about

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Making First Moves

This morning I’m pondering the right first move to bed into my daily routine. Right now, I have about four first moves that will kick of my day, depending on which groove I’m in:  Getting up and journaling to park ideas;  Getting up and writing directly into the computer;  Getting up and doing the day’s Worlde, then posting it to my family chat;  Getting up and brain dumping my top-of-mind thoughts into an Omnifocus inbox, then doing a project review and building my diary for the day. Of the four, Wordle is the worst option. Logging in to finish a Worlde puzzle only takes about three minutes, but it puts me in a social mindset because the next step is going into chat, and from there it’s a short skip to spending the entire morning answering email and tooling around on social media. Journaling is probably my favourite kick-off, but the chain of events that follow that meditative writing often means I’m slow to build up steam for the rest of the day. It’s harder to transition into day job work (or, at least, it was harder to transition into my old day job work), and harder to actually launch

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The World’s Worst Story Opening (And How To Do It So It Works)

Back in May, Chuck Wendig did this post about breaking rules. I like Chuck. He’s a smart guy. Knows his shit when he talks about writing, too, which is why we flew him out as a guest for last year’s GenreCon. But I’ve gotta admit, when he put up his post saying, well, fuck the rules, and included the following list of rules worth fucking, it kinda made my testicles crawl into my body and seek refuge from the terror he’d unleashed upon the world: Don’t open on weather. Don’t open with a character looking in a mirror. Don’t open on a character just waking up. (Wendig, IN FICTION, NOTHING IS FORBIDDEN, EVERYTHING IS PERMITTED) Oh, Jesus, I thought. Why in hell would you tell people that? Don’t you realise what you’re unleashing on the world? Those poor fucking editors. Hell, those poor writers. DAMMIT, WENDIG, WHY ARE YOU USING YOUR POWERS FOR EVIL? Then I got distracted. ‘Cause deadline’s wait for no fucking man and I had a copy of Frost to turn in that wasn’t yet finished. But that last one on Chuck’s list, it stuck in my head. Don’t open on a character just waking up. It irritated me, ’cause I’ve got

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