Val Vega makes an epic debut 🚀
17/03/2024
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It’s almost my birthday here in Australia—a birthday I share, give or take a few time-zones—with an incredible Brooklyn-based sci-fi writer named Ben Fransisco. I
HARDBOILED SPEC FIC | NEO-PULP FANTASY & HORROR | GENREPUNK
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.
About Peter M. Ball
PETER M. BALL is an author, publisher, and RPG gamer whose love of speculative fiction emerged after exposure to The Hobbit, Star 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
Never Fall In Love With The Fey
04/03/2024
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Miriam Aster made a big mistake: she fell in love with the Queen of the Fey. All this was ten years ago, when Miriam was
Notebook Mojo
13/08/2023
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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
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:
Putting On My Red Shoes and Dancing the Blues
For reasons that are not entirely clear to me, last week was pants. Nothing went seriously wrong. Nothing went seriously right. It was just the kind of awful, no-good week that doesn’t really deserve that designation. The kind of week where you huddle up in your house, utterly certain that everything you do is wrong, that your body is falling apart and your mind is no good for anything and you indulge in the dream of no longer having to cope. The kind of week where lack of sleep kills your fine motor skills, and every attempt to rub your weary eyes is accompanied by a small vision of accidentally pressing your eyeball into the back of your skull, even if you know that’s relatively insane. The kind of week where you desperately try to hide the fact that you are a twitchy mess from the world. The kind of week where your focus is utter crap and you feel yourself getting behind on everything. Where writing consists of sitting at a computer for three hours and typing, maybe, two hundred words. By you, of course, I mean me. Last week was pants. This morning I am dancing. David Bowie. Lets Dance.
07/12/2015
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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
01/02/2010
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Hanging at the Book of Face for a Stretch
For the past few years, I’ve largely left my Facebook Author Page as a secondary concern. It was a place to re-post links to blog posts after Facebook ceased allowing these to go to a personal feed, and occasionally served as the site for announcements of new covers or books. This was partially a function of time—I invest a lot of energy in not being online, most days—and partially a function of a mindset where I wanted to keep processes controllable and focus as much energy at possible on writing new things. As I’m getting some bandwidth back, this week, I’ve started trying to change that a little. Facebook is getting its own little stream of content rather than repeating things that appeared here or over on twitter. Basically, there’s now a version of me that’s increasingly Facebook Specific. A professional version of me, that gets a moderate amount of attention, as opposed to my increasingly diminishing personal presence on the book of face. One of the intriguing exercises, leading up to this, has involved sitting down and figuring out a plan for the kinds of content I want the page to focus on. My first version ran something like
12/12/2019
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The Window For Raving About Stories You Love
’m sufficiently old that I feel like the window for talking about We Are Lady Parts is over, what with the series coming out in May of 2021 and our engagement with it taking place in early September. I’m old because I’m trapped in a cultural paradigm where immediacy is a primary virtue when recommending narratives—the same paradigm where books have a shelf-life of three to four weeks, television shows get consumed in scheduled blocks and paid for by advertising, and films exist to be shown on the big screen or pulled off the limited shelf-space of your local blockbuster. Talk about a film, a book, or a television show four months down the line in that kind of environment, and the moment is already over. You wait for re-runs or the DVD release that might never happen, scour second-hand bookstores or badger your library to order in a copy. But this is the streaming age; the binge watch age; the ebook age. Online stores don’t have the limitations of physical shelf space, and they’re free to stock vast back lists if you’re eager to engage. A penchant for addressing things while they’re new is an atavism of an earlier
25/09/2021
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What Can Get Done in Twenty Minutes
I’m always astonished by the patently untrue things I’ll internalise about writing, given half a chance. For me, the big one is the myth of time, which manifests in the belief that it’s not worth sitting down to write anything unless I’ve got a significant chunk of time to devote to the effort. It leads to some pretty weird decision making. Give me a two hour gap in my schedule, and I’ll consider filling it with writing. Give me a fifteen minute gap in my schedule, and I’ll consider filling it with Facebook on my cell phone. In my head, writing requires an long stretch of time and energy to make it worth while. Which is odd, ’cause I know that’s bullshit. I even have the data to back it up, courtesy of the novella diary I kept back in May of 2013, which largely constructed a draft out of ten and fifteen minute writing bursts of a couple of hundred words. It was a month where I’d be all, “eleven minutes spare at the end of my half-hour lunch break? That’s two hundred words mother-fucker,” and then I’d sit and write the two hundred words. I can get way more done in ten minutes
15/01/2015
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Trust in the Process
I write rough drafts in my notebooks these days. It gets me away from my perfectionist impulses, lets me embrace the idea of scribbling out a crude and ugly scene that will get fixed up when I type it into the computer. Except I don’t really look at the notebooks when it comes time to sit at the keyboard. I just sit and rewrite the entire story, based on the rough beats I remember from the notebook. Everything else is basically written anew, fleshing out as I go. It feels inefficient. I keep sitting down and wondering if it’s time to go back to the computer for everything, or if its time to try doing rougher sketches in the notebook rather than trying to write full scenes. It feels inefficient, but it’s not. Notebooks are the perfect place to write that messy, ugly zero draft. They’re the perfect place to dump this stuff out there, figure out what the story isn’t so I can start paying attention to the thing that it probably is. And the best chance of figuring out if it really is inefficient isn’t halfway through the draft. It’s when I’m done, and I’m starting a brand new
18/10/2016
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