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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

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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:

Who Gets To Monetise Your Spare Minutes of Attention?

I’m writing the first half this post on campus at UQ. It’s approximately 7:03 in the morning, and the cleaner is working their way through the offices. I’m here early because I teach a class at 8:00 AM, because it’s the first week and I still don’t know exactly how to find the room, and because I like to get on campus an hour early for classes. That’s my buffer, should there be traffic problems or train delays, and on the days when there are no such problems, it leaves me with approximately 47 minutes of time to fill once I arrive. Occasionally I have a plan for this time: going to the library, for example. Catching up with friends before class. Today — and for most of the coming semester — my plan is this: Do not give this time to Facebook or Twitter without a damn good reason. Instead, I’m making a conscious decisions about the way you’ll use the little slices of time to advance the writing projects that matter to me. # I often think of the period between 2005 and 2009 as my most productive years as a writer. Part of that is invariably hindsight

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Poetics, Conventions, and Physical Objects

This entry is part 1 of 3 in the series Scratchpad: Comic Books, Fiction, Publishing, Poetics

Scratchpad: Comic Books, Fiction, Publishing, PoeticsPoetics, Conventions, and Physical Objects No Ellipsis Publishing This End Not An End Point The poetics of comic book narratives are indelibly bound to the page. Each issue of a 24 page comic will contain twenty-four pages of narrative, give or take a few spaces for advertising. Which means a smart comic book writer is always thinking about layout and using pages to generate effect–pitch this sequence across two pages that open together so it reads a particular way, pitch this reveal for the end of an odd-numbered page and the start of a new scene when the reader flips over. I’m using the word writer loosely here, as befits a collaborative medium where an artist will bring scripts to fruition, but it’s not exclusively the artists deal. Go read interviews where the folks who script comics talk process, and the obsession with pages is there. Neil Gaiman hassled DC editorial because he wanted to know where the advertising sat in upcoming Sandman issues, because he knew they’d affect the way the story was consumed. Alan Moore put forth a theory he learned from an editor: comic book characters are limited to twenty-five words of

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Let Us Talk About The Ways You Finish Your Stories

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The End of the Streak

I broke my writing streak last week. After 171 consecutive days of writing – including a five days where I held onto to streak by the skin of my teeth while on Holidays at the Adelaide Fringe Festival – it was eventually killed off on the final day of holidays by Cyclone Marcia, writing a two-day workshop, and the uncertainty of knowing whether or not we’d be able to fly home. Of course, February was a pretty rough month for writing even before I lost my thread. February always is. I’m going to finish the month well short of the 50k I need to reach my 600k goal for the year, but I’ve planned for that, and March will be a month of catching up and getting stuff finished. So what did 171 days of writing get me? More than I thought. Since I started tracking the writing streak, I’ve achieved the following: Finished Crusade (aka Flotsam #3), a novella of about 40k words in first draft. Finished Valiant, the first novella in a werewolf PI series, at about 32k Put together about 20,000 words of short fiction drafts I need to go back and finish Produced 10,000 words on the two

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On Aggressively Curating Facebook Feeds

I spent a hair over six hours on social media last week, which is considerably more extensive than usual courtesy of the extra time spent losing my mind over Riverdale with friends. And I used to think my approach to managing Facebook so it didn’t eat all my time was pretty goddamn tight. Then I read this post on Lifehacker about unfollowing everyone on your friends list to transform the default feed into a desolate wasteland and I was all, holy fuck, that’s genius.   I haven’t quite gone scorched earth yet, but did elect to get really, really aggressive. Yesterday I opened up the new Newsfeed Preference system which makes it far, far easier to see who you’re actively following and began to really, really ask myself if everyone on that list was posting stuff that I either a) wanted to engage with on a daily basis, or b) actually cared about on a daily basis. An hour later, my default feed only shows content from twenty-four friends, my two favourite authors, one of Australia’s best reviewers, two family members, the Facebook group we use to organise my weekly Superhero game, the Facebook page for my local cafe, and the

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Characters, Couples, and Trios

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