Blending facts into writing fiction

I’ve been invited to submit a 1000-1500 word post on the topic: “The importance of blending reality and fiction in thrillers” for an online magazine that focuses on crime, suspense, and thriller books. I have some ideas about this but they are not well formulated. I would be grateful to have you share some of your thoughts on this topic.

Here’s what I’ve got so far:

Thriller readers want compelling and believable fiction. If readers are presented with some information they know to be true, along with fictional information, they will tend to also believe the fictional elements. For instance, if I was writing a novel with a plot element that included discovery of one of Sir Isaac Newton’s hidden journals and I wrote the following: “Sir Isaac Newton, in addition to discovering scientific principles such as the law of gravity, was also an accomplished alchemist. Given his Christian background and interest in the occult, the Archbishop of Canterbury secretly organized an assassination plot. When the attempt failed, the Archbishop denied any involvement.” How much of this is fact and how much is fiction?

In this example, the scientific accomplishments, interest in alchemy and the occult, and Christian background are all true. The assassination plot by the Archbishop is fictional, but it is believable when embedded among other factual details. The credibility is further enhanced if a reader is aware of the factual elements but didn’t know about the Archbishop of Canterbury fictional detail. A reader would be inclined to believe this given the known truth of the other elements.

From reading Dan Brown, I’ve observed that he is very skilled at blending fact and fiction; he is able to craft excellent fictional stories by doing so. Any other authors come to mind?

Some research is difficult to ascertain as fact or fiction. Many “facts” uncovered when researching a book do not include the source documentation and are therefore difficult to verify. If I am writing a book that portrays a character who claims to have been abducted by aliens, I can include many “facts” about alien abductions, UFO sightings, government coverups, and the like. Yet, even as an author doing research into these details, how many represent actual facts. Often, these “gray” details are not black or white. The more spectacular the supposed facts are, the more believability gets called into question. Statistics sound very factual, but numbers can be manipulated. Scientific research sounds factual, but conclusions are frequently based upon various scientific biases and methodologic flaws. Do these become facts? partial truths? opinions? subject to interpretation?

As I consider what goes into writing a thriller, I can think of multiple ways to weave reality into plot, characters, and storytelling. At the end of the day, it is a work of fiction. Still, truth is often stranger than fiction.


Gone Clubbing

Recently, I joined a book club. The local listings on Meetup afforded several options for book clubs in my area. I wasn’t anticipating actually meeting in person during these times of Covid, so I suppose I could have joined a club that wasn’t close by, but I decided to stay local. Here’s the description for the book club I selected:

This group is for people interested in discussing books about challenging topics ranging from diversity and inclusion to the environment and the economy. And in the best of book club traditions, it’s mostly about getting to know our neighbors and making new friends.

We read a book a month and meet online for an hour to discuss the book and share our own stories around the book’s themes.

Part of the impetus for this decision came from outreach I have been doing to book clubs throughout the country requesting that they consider my novel as a club selection and offering to participate with their club members to discuss my novel. I realized that it might be helpful to get a feel on how a club operates with respect to selecting books and engaging in discussion. Fortunately, the club I joined has an excellent moderator who does a great job in facilitating discussion that uses topics and situations in the book to allow members a chance to share not only their thoughts, but their own experiences.

I realize that clubs are going to differ in how their meetings are conducted and the quality of the discussion will both be determined by the book and the participants. Something I didn’t realize is how stale my reading selections had become. I’ve written both a science fiction novel and a thriller and have tended towards reading books from those genres. I also have written a couple of self-help health books but have no interest in reading that genre. I also enjoy books that deal with consciousness and spirituality, but these are not light reading material. The club selections have forced me to read titles I have not only never heard of, but they are books in different genres and are nothing I would normally even consider.

The first book I read, Hillbilly Elegy: A Memoir of a Family and Culture in Crisis gave me a fascinating perspective and insight into the culture and politics of a slice of America that I knew little about apart from pejorative stereotypes. Not only was it well written, but I found it entertaining at times and quite educational.

The next book, Hidden Valley Road: Inside the Mind of an American Family represents a type of writing I have regularly been exposed to in articles but have not read in book-length in a long time–narrative journalism. Quoting from the book listing, it details: “The heartrending story of a midcentury American family with twelve children, six of them diagnosed with schizophrenia, that became science’s great hope in the quest to understand the disease.”

This second selection reminded me of watching a documentary instead of a drama, but it isn’t dry at all. In fact, the story had additional relevance for me since the genetics of schizophrenia, discussed in this book, was a topic I researched heavily when writing my science fiction novel in which one of the main characters suffered from this disorder. It turns out that the author began his research the same year my book was published.

I never would have considered reading either one of these nonfiction titles, but both provided excellent reads and an opportunity to participate in excellent discussion. I don’t consider myself to be well read, and I have a pile of books just waiting, but I may decide not to read many of them. There is a limited amount of time to read. Now that I have sampled some different types of books, my palate has changed. New tastes in literature beckon to be sampled. I’ve been subsisting on the same literary diet and had simply forgotten how enjoyable it is to try something new and the importance of keeping it fresh.

I tend to be an introvert and I don’t go out much, especially during this epidemic. Now that I’ve gone clubbing, I’ve met some interesting people, read some interesting books, and developed a better understanding of book clubs and of myself.

About Writers, blogging, book promotion, book sales, inspiration, marketing, Uncategorized, Welcome, Writers Co-op

Marketing and Promotion—Musings, Madness, and Misgivings

Marketing and Promotion—Musings, Madness, and Misgivings 

In anticipation of an upcoming book release in August, I’ve been thinking more about marketing and promotion. I do not want to repeat past experiences where time and money have been largely wasted in some deep abyss. Of course, I would like to get the best ROI on the time and money expended (this second category has a very modest budget). As opposed to past book marketing and promotional efforts, this time I am working with a mid-press publisher that actually is devoting resources into marketing. I don’t want to duplicate their efforts, but our combined efforts will hopefully achieve some success. I have no misconceptions that this is their sole responsibility. In fact, I think more of the effort needs to come from me. What then is the best way to proceed?

Prompted by an exchange with GD, I am going to list and comment upon a broad array of different tactics and strategies that I am aware of. Some are familiar in so far as I have gone down those roads before. Others are new attempts I plan to try as a way to increase book sales. This is the primary result I want to achieve with these marketing and promotional efforts. I understand that there are secondary goals such as networking, name recognition, media opportunities, film options (one can dream), but the primary focus remains as increasing sales.

Some of the things I list are only pertinent to a new release. I’m sure the list is incomplete. I will not shy away from giving biased opinions on some of the techniques and strategies. As an example, I am generally opposed to steeply discounting books to provoke sales; although, I see a limited role for that particular strategy when doing so as a “loss leader” to hook readers into a series. I’m sure things that have worked for others that I have not found to be helpful are worth considering. I will add that compiling this list only reinforces the morass that many of us are trying to wade through.

Here goes:

  1. Friends and family: an effective approach but the ceiling is low.
  2. Author email list: not a personal fan as I think it requires some effort to maintain and I think the usefulness in generating sales is limited. I do understand some authors will cross promote with each other using these lists. My personal list is small and I make no effort to build a fan base this way. I do have an author FB page (more on that later) and I think that’s my preferred venue to build and maintain a fan base.
  3. Press release: I’m letting my publisher handle this and I’ll blast it out on my modest social media network. Can be used to outreach to local press, radio stations, etc. but I’m not sure how effective that is.
  4. Speaking and presentations: Can be effective. May require some extra effort. Best if you can have a themed talk that somehow relates to your book. For example, chakras and charkra openings are an important element in my story, so speaking about this topic is a way to have a themed talk to provoke some book sales.
  5. Endorsements and blurbs: Great if you can get them especially from well-known authors writing in the same genre that your book is in. Does anyone have a direct line to Dan Brown (not just any person who happens to have that name, I’m talking about the author of The Da Vinci Code)? Please hook me up as this release is a suspense novel that involves secret societies. LOL!
  6. Contests: I think these can be helpful if you win an award and can leverage that into more sales. There are a lot of “fluff” contests out there and many readers cannot distinguish what is effectively a scam contest to prey on authors and what is a legitimate competition with qualified judges. I myself plan to apply for four such award competitions and am willing to devote some of my budget to try and obtain recognition with an award. If anyone is interested, I’ll be happy to share the specific contests and why I have selected them. My publisher may submit to other competitions. Some of the best awards require that your book be nominated. I’m not holding my breath for that.
  7. Goodreads: This has always struck me as a black hole of sorts. I think that authors who are active and “good citizens” of Goodreads groups can leverage that into sales. I am not in that category.
  8. Social Media: This is a big topic so I’m going to break it down. I’ll also cover ads on social media separately.
    • Twitter: I am reasonably active here, but I don’t think it results in many or any book sales. Occasionally some opportunity comes up with a follower, for example an invitation to do an interview.
    • FB: This is where I am personally active not only with posting on my own author site, but also cross promoting with my podcast FB page and other writing related sites. Impact on book sales is hard to judge. Whether or not to have a new FB page devoted solely to this new title is something I am debating. I am more in favor of author branding and not a single title and I really want the traffic and marketing efforts to be on my author page platform.
    • LinkedIn: I use this sparingly to post new content such as podcasts and will make announcements about the book release, share a press release, and that sort of thing.
    • YouTube: I have my own YouTube channel where I post podcast episodes, book trailers, and other content. I find it useful to use the YouTube content on my other social media platforms and I know this has been helpful in driving some sales.
    • I’m not using Instagram, Bookstagram, TikTok, Pinterest, Reddit , or other social media platforms. They may be effective but I haven’t explored and feel I am not inclined to try and go down another rabbit hole.
    • Influencers: If you can hook up with or somehow get picked up by someone with a big following, and have them promote your book for you, that’s probably a great strategy to use.
  9. Paid advertising: Again, let me break this down.
    • FB have used including targeting the right demographic. Waste of money in my opinion but other authors have had success.
    • AMS (Amazon Marketing Services). I’ve had more success with this than FB but not enough to set up and tweak ongoing ad campaigns.
    • Twitter promotions: way over-saturated and not worth the money
    • YouTube: I’ve had some limited success. The ads run through Google and are targeted. I think a well-produced book trailer can generate sales.
    • Promotions run through others. Here I am talking about things like BookBub, Fussy Librarian, etc. Unless you are willing to discount, I don’t think this is effective. I have used a number of different services (never managed to be accepted by BookBub), but I won’t be spending my limited budget this way. A big number of .99 sales has some merit, but coordinating this and getting agreement from my publisher is nightmarish without monetary return.
    • Print advertising. It’s expensive and difficult to track results.
  10. Book reviews: Here I distinguish between reader reviews, paid reviews, and other outlets.
    • The more reader reviews the better up to a threshold, especially if they continue to come in a steady stream following release and especially if they are verified purchase reviews. The number, rate, and whether or not it comes from a purchaser affect the Amazon algorithm that affects your ranking. I am personally trying to get 10 people to commit to a pre-order of the book and a review in the first week of publication (I provide an ARC so they don’t have to rush to read as soon as the book comes out). There is a narrow window to generate hype following a book’s release so if you can line up some preorders and early reviews you get a jump start. [If anyone wants to be in this early group, please email me at victoracquista@victoracquista.com] Continuing to solicit reviews I believe is an important strategy. There are reviewers but in my experience there is a big gap in requesting a review and getting one. I do have access to information (via Where Writers Win https://writerswin.com/ through membership in their Winners Circle) that gives a listing of reviewers by genre and ranking by site traffic. I should also mention that winning  a legitimate award may give an advantage to getting a review.
    • Paid reviews from entities such as Kirkus are expensive but they have distribution to get eyes on your book from ancillary places like magazines, film executives, etc. Ten percent of Kirkus reviews are starred and getting that designation could open some doors. I’m hoping my publisher fronts this cost. It’s also much easier to get into libraries if you have a Kirkus review. I’m not a fan of other paid reviews but I think they can generate exposure and if they are from a credible site, they might provoke some sales.
    • There are other review outlets including magazines, trade journals, newspapers, Publishers Weekly, and who knows what else. I’m relying on my publisher to make these connections.
  1. Launch party: Not a fan
  2. Launch event: If you have a low-cost venue, are budgeted to provide some food, and believe you can get sufficient people, then why not? Book stores are potentially a place to host at no cost.
  3. Prize giveaways: Can be done on your own or in concert with other authors. I did this with my sci-fi novel and found the ROI to be negative.
  4. Personal author website: I have one and will update accordingly. I’m not sure if it drives any sales. Same is true for Amazon author page.
  5. Bookmarks: Low cost and useful to hand out at conferences and other events.
  6. Publicity company: Hiring a PR firm is expensive and putting together a formal campaign is a big undertaking. I’ve done this previously but do not plan to do so again.
  7. Media exposure e.g. TV, radio, podcasts: Potentially useful with the cost being time. Eventual sales depend in part on what audience is viewing/listening to the show.
  8. Book signings, bookstores, events such as trade shows: There are potential costs involved for some of these related to entry fees, vendor space, a booth with banners, business cards, etc. On top of this there may be travel costs, meals and lodging, the aggravation of set up and take down. I think the ROI is more in the category of networking and less so in book sales. I am committed to doing some of this. There are true benefits to having a relationship with a bookstore, particularly one that goes to these trade shows. Then you can attend and have a book signing without actually being a vendor.
  9. Professional organization: I think there are benefits to being part of a writing organization where you interact with colleagues, support one another, attend sponsored workshops, etc. I am a member of the Mystery Writers of America and we have a terrific chapter in Florida. I think promoting one another’s work is one of the benefits of membership.
  10. Celebrity outreach: great if you can get exposure through a celebrity. Celebrity book club selection (think Oprah, Reese Witherspoon) would be huge.
  11. Bloggers: Could be effective. Fortunately, my publisher has a network of bloggers that promote the titles. I’ll probably do some outreach on my own but sifting through the wheat from the chaff seems to me to be a difficult task.
  12. Virtual blog tour: I’ve heard mixed things. Not currently part of my marketing plan. There are companies that will set these up for a fee.
  13. Book clubs: This is something I am currently investigating. How to reach out effectively? I think this has the potential to drive up sales.
  14. Libraries: Fortunately, my publisher has a lot of experience in getting books into libraries.
  15. Advanced reader copies (ARCs): Again, this is something my publisher is very proactive with. They participate with NetGalley and LibraryThing. I know of a recent release that had over 90 very favorable NetGalley reviews before it was even published. Authors can get their books into NetGalley but it’s expensive. Creating a buzz and generating hype seems to me to be an important element in driving book sales. I am fortunate that my publisher has these connections.
  16. Book trailer: I’ve made my own and paid to have one produced for a previous novel. I plan to pay for a professional quality trailer and use it on social media, my website, Amazon author page, YouTube channel and ads. I’m hoping there is a ROI but recognize that might not be the case.
  17. Podcasts: I saved this to present near the end of my list because it seems to me to be a somewhat novel approach. Here I am not talking about appearing as a guest on a podcast show to be interviewed and talk about your book. I started a podcast series, Podfobler Productions, where I narrate my own and other authors’ works. I produce YouTube videos of the shows and use them in my social media posts, FB page for the show, and ad campaigns. For profiling guest authors, I only ask that they distribute the show to their network and when I eventually produce a show about my new book, they agree to distribute that show. Here I am trying to build a fan base and also use the networking power of fellow authors. Will it help to drive sales? I don’t know but it is part of my overall marketing strategy. I just wrapped up season 1 with twenty assorted shows two of which featured co-op members (GD- episode 11 and Curtis-episode 15). Here’s the season one playlist in case anyone is interested: https://www.youtube.com/playlist?list=PLpfls08qGbIsHnbp-2-C9r5I8fK8kw24j Incidentally, in case anyone wants to have their work narrated, drop me an email (address in #10 above). I’m currently working on a production schedule for season two.
  18. Fingers crossed for good luck: Napoleon said something to the effect of, “I would rather have lucky generals than good generals.” I know wishes won’t wash dishes, but I do think there is an element of luck that goes into this abyss of marketing and promotion.

Edison said, “1% inspiration and 99% perspiration.” I’m working this hard and may need to get crowdfunding for deodorant considering how much sweat equity I’m devoting to this. I don’t think success comes without effort unless your stars align in some magical way.

This is a very lengthy dive into a murky territory, a swamp and quagmire full of traps that can swallow you up. I’m sure I missed some categories beyond what I have listed. Comments, insights, disagreements, and commiseration are invited and welcomed. Wish me luck as I get ready to take the plunge.











From an online dictionary:

muse: noun

  1. (in Greek and Roman mythology) each of nine goddesses, the daughters of Zeus and Mnemosyne, who preside over the arts and sciences.
  2. a person or personified force who is the source of inspiration for a creative artist.

As writers and artistic creators, we know what it’s like to be inspired by a muse. For me personally, it amounts to daemonic possession. I sometimes become driven to write something that insists upon being expressed: a snippet of dialogue, a scene, a story, subplot…the list goes on. Sleep beckons, but the muse is unrelenting. And when sleep manages to intercede, I am prone to wake with new inspiration driving me to make a note, record a message to myself, or even return to my office and proceed with fingers to keyboard, in the zone, channeling the muse-deamon that refuses to allow me to rest, infected as it were with the only remedy being to write, write, write, write. Disregard the eye strain, sleep deprivation, aching neck muscles and celebrate the moment because it may be fleeting, or it may continue unabated. You just never know because there is a fickle character to this whole muse thing. Surf the big wave while the surfing is great and celebrate the moment while it lasts.

Okay…I could go on, but you get the idea. I don’t know what other writers experience. I have spoken with some who completely understand this possession, but we are a varied lot, so perhaps it isn’t universal. I for one am an undisciplined writer. I do not write every day, a practice so many successful and accomplished authors recommend (which could explain my limited success). Like a streaky baseball hitter, I can go from slump to hot streak—from no muse at all to complete immersion and full throttle. While I relish the muse taking over and writing while in the zone, of late I’ve been contemplating something I now refer to as the anti-muse.

I don’t have a hard and fast definition of the anti-muse, but the bite of this daemon is every bit as potent. I envision it as a many-headed Hydra with poisonous venom. Once bitten, I am overcome with a certain paralysis. Alternatively, the anti-muse is a Medusa whose eye-catching glance turns me into stone. In either case, the result is the same—don’t care to write at all. Wild horses can’t drag me to or away from writing because I’m not inclined at the moment. For me, this is not writer’s block (I don’t believe in that) so much as non-interest in writing.

I’ve come across a number of different articles, posts, YouTube videos and the like that address creativity, what goes into it, and how to release your creative potential. I suppose a form of the anti-muse (one of the Hydra heads) could be somehow wrapped up in creativity.

Motivation and getting motivated is a bit of a tired topic these days, filled with gurus and Tony Robbins wannabes who want to teach you to reach your full potential (blah, blah, blah). I’m willing to put lack of motivation as one of the Hydra heads. Although, somewhere is this paragraph the notion of ambition needs elaboration. Is lack of motivation the same as lack of ambition? If I felt more motivated I might actually look up the difference between motivation and ambition but I’m not that ambitious. Besides, Caesar was ambitious, and things didn’t work out that well for him. I’m going to imagine the original Hydra head was cut and these two other heads sprang forth, one with the venom of anti-motivation, the other with the venom of anti-ambition.

Stress, time pressures, competing priorities—do I need to elaborate on any of these? Other things occupy the mind and time while effectively blocking the muse from entering.

Procrastination? I know an author who made a career writing books and giving workshops and seminars about procrastination. When the procrastination bug bites writing is simply put off until tomorrow. Even better, as the saying goes, “Don’t do it today when you can put it off until tomorrow and don’t do it tomorrow if you can put it off all together.” That’s probably not an exact quote but you get the idea. Procrastination is a very effective anti-muse.

Of course, the entire notion of laziness belongs in this conversation. I’ve certainly experienced feeling lazy when it comes to writing. In fact, this feeling can last for days or even weeks. This is by no means being sluggish or depressed as energy and upbeat mood can coexist very nicely with the kind of writing laziness I’ve experienced.

Another anti-writing infection can loosely be categorized under distractions. Heck, there are many other ways to spend my time and many of them are more enjoyable and more attractive than sitting down to write, especially if I’m not quite in a writing mood. Distractions are another head to this anti-muse Hydra.

The same can be said of excuses. There seems to be no limit to the possible excuses I can come up with to rationalize why I should not be writing today or at least at any particular moment. Here I am not talking about basic needs such as eating, sleeping, and personal hygiene. Do I really need to elaborate on a long personal list of rationalizations?

My individual list detailing the anti-muse has thus far included:

  • lapse in creativity
  • lack of motivation/ambition
  • stress from a multitude of sources
  • time pressures
  • competing priorities
  • procrastination
  • laziness
  • distractions
  • excuses/rationalizations

I suspect my own personal list is longer and with more reflection I can uncover some more bullet points representing additional heads to this beastly monster that is the daemon that takes tight hold and refuses to let go, that paralyses me into not writing.

With such a monstrosity representing my anti-muse, it’s amazing that I get any writing done at all.

Just wondering what categories you can add to the list. A fellow writer suggested I author a self-help book directed to writers to address blocks to writing (not writer’s block, more along the lines of what I am calling the anti-muse). In fact, that discussion is what provoked me to think about the topic. This colleague even claimed to know a publisher who was interested in the topic.

As for me, I think I can invoke several different reasons why I certainly am unlikely to get bitten by a muse to write such a book.


When is “done” done?

– by Victor Acquista

I recently completed a novel. Well, I think I completed it. But I’m not sure. I have doubts, uncertainties, and insecurities. Am I really finished? Would another round of edits, or input from additional beta readers spot something or provide input that leads me to change something, improve something, give the writing additional buff and shine?

How do you know when a work is done to final completion? How do you decide? When all is said and done, any work can undoubtedly be improved. Where is the point to invoke the law of diminishing returns?

Recently, I’ve immersed myself into the world and nuances of editing. Macro and micro editing, developmental, line, content, and copyediting, constitute a confusing maze to negotiate. Do I trust an editor to tell me everything is good to go?

This particular novel is written under contract with a publisher. At the end of the day, they decide if and when the book is ready to be published. If I was self-publishing, the decision is entirely my own. In this particular instance, I am responsible for providing a finished work that is “editorially acceptable”. That designation is a term of art. Isn’t there something subjective about what is or is not acceptable? Where is the line drawn? How am I to know? Have I indeed finished this particular novel?

I want to provide a fully polished work-product that is as good as I can make it given my writing skill set and level of accomplishment. Am I at that point with my current work? Is now the time to submit it? Would another set of eyes see something that I am missing? When you are fully immersed in a plot and characters, when you have read and reread, and tweaked things ad nauseum, objectivity is lost.

When do you say, “enough is enough”? How can you make that determination? Is there a process, a guideline, an invocation or end-ritual to help determine that I am done? When is “done” done?

About Writers, Uncategorized, Writers Co-op

Sharing some thoughts and experiences about the Authors Guild

By Victor Acquista

Liz BNo,  it isn’t: “a medieval association of craftsmen or merchants, often having considerable power” (although, that would be pretty cool), but it is: “an association of people for mutual aid or the pursuit of a common goal”.

I mentioned the Authors Guild in a previous comment and GD suggested I provide some information. I never really thought too much about it, but there is something medieval sounding about joining and being part of a guild. I assure you, the AG is very up to date on what is going on in the world of writing and publishing and can be a very solid resource to support writers professionally. This will primarily be a cut and paste post with information from their website: https://www.authorsguild.org/

Our mission is to support working writers. We advocate for the rights of writers by supporting free speech, fair contracts, and copyright. We create community and we fight for a living wage.


The Authors Guild is the nation’s oldest and largest professional organization for writers. Since its beginnings over a century ago, we have served as the collective voice of American authors.

Our members include novelists, historians, journalists, and poets—traditionally and independently published—as well as literary agents and representatives of writers’ estates.

The Guild advocates for authors on issues of copyright, fair contracts, free speech and tax fairness, and has initiated lawsuits in defense of authors’ rights, where necessary. We represent authors on the Hill, in state legislatures, and in government agencies. And we work to establish fair royalty rates for both e-books and print books.

Our members have access to a broad range of legal and web services. The Guild’s legal staff reviews members’ book and freelance contracts and intervenes in publishing disputes. We provide liability insurance at group rates, a Back-in-Print program, and a free subscription to our quarterly Bulletin, as well as host and help develop members’ websites. Our new, re-designed website includes a more robust member directory (searchable by numerous categories), an events calendar, daily and weekly news updates, digital archives of the Bulletin and recorded seminars. We also hold in-person and phone-in seminars and symposia on issues critical to the writing life, and more informal gatherings throughout the country.

Information about membership can be found here: https://www.authorsguild.org/join/

Here are some of the salient details:


  • Traditionally published authors
  • Self-published authors
  • Poets
  • Translators
  • Ghostwriters
  • Illustrators
  • Freelance writers
  • Writers who’ve received a contract offer
  • Writers working on a manuscript
  • College & Grad Students
  • Literary Agents
  • Editors
  • Attorneys
  • Estates/Heirs

Regular Membership: Traditionally published authors with at least 1 published book in the U.S.; self-published authors who have made at least $5,000 in the past 18 months from their writing; and freelance writers who have published 3+ pieces or made $5,000 in the past 18 months.

Associate Membership: Writers who have received a contract offer from a traditional U.S. publisher or an offer of representation from a U.S. literary agent; self-published authors or freelance writers who have made at least $500 in the past 18 months from their writing.

There are other membership categories including for students and emerging writers. Standard dues are $125 annually.

I have personally met the Executive Director, Mary Rasenberger, when she hosted a meeting for Guild members in the Santa Fe, New Mexico area. She traveled to selected places throughout the country to talk about the Guild, some of the current issues facing authors, what’s happening with lobbying efforts to advocate for authors, boost membership, and a host of other issues. I found the presentation to be excellent and it provided a wonderful opportunity to meet other authors and hear about their experiences and concerns.

I have participated in writing groups, attended conferences and workshops, and generally been involved with a number of professional activities related to writing. As an organization, I feel as though the Guild is working on my behalf to advocate for authors and to be a resource. This type of involvement is quite different from the other professional activities that I just mentioned. I found my publicist through the Guild’s resource network and felt confidant that the Guild would not recommend a shoddy company. I have used the Guild’s legal services on two different occasions. I worked with the Guild in notifying them about a problem with Kindle royalties not posting correctly after I learned from Amazon that the problem involved multiple authors. Although Amazon did correct the royalty issue, I know the AG got involved. I have also used their resource library a number of times.

I could probably go on, but if you aren’t interested enough to poke around their website to learn more from what I’ve shared thus far, the Authors Guild probably is not your cup of tea. As you can tell, I think they are a fine organization. Final comment—I always include the fact that I am a member of the AG in my query letters. I don’t know if it helps or not, but in my mind it conveys something positive.



About Writers, blogging, Uncategorized, Writers Co-op, writing technique

Writing to Raise Consciousness—Meaning and Intent

“Writing to Raise Consciousness”–it’s my tagline, my author branding. Since I write both fiction and nonfiction, it might seem challenging to wrap both types of writing into the same package. Eyebrows raise, faces morph into puzzled expressions, and people ask the obvious: “What do you mean? What do you mean when you make a statement saying you want to write in ways that raise consciousness? Please explain…”

Ask ten people to define “consciousness” and you will likely get ten different answers. Even among scholars who study consciousness from scientific, philosophical, and metaphysical perspectives, there is little agreement about what consciousness actually is. Without agreed upon definitional characteristics, how do I attempt to raise or elevate something we are not clear about and may not even be able to measure or quantify at all? It isn’t like raising the temperature of something through a process of heating. It isn’t like inciting a riot with inflammatory rhetoric. Physics and sociology have ways of measuring those processes.

Is this a blind men problem—trying to describe an elephant, each with only a fragmented understanding? Is this some sort of dark matter/dark energy construct—useful in trying to understand something we really do not understand? Am I deluding myself in thinking I can write ‘stuff’ that is going to actually raise consciousness? To complicate matters further, while playing my own Devil’s Advocate, if one believes consciousness is infinite and beyond constructs of space and time, then you cannot raise, elevate, expand, or increase it in any way. X + infinity still = infinity. In some ways, it is a thorny thicket.

Despite these challenges, I do not back down from my intent to raise consciousness through my writing, nor do I move from my belief that I can actually do so. The method to achieve this works at different levels or dimensions. It also hopefully works on both individual and collective consciousness.

The first level is rather simple and straightforward. There is widespread agreement that a relationship exists between consciousness and awareness. Precisely what that relationship is can be difficult to say, but for purposes of this argument, let us simply posit that awareness and consciousness are related. If I write something about a particular social ill such as violence, or racism, or children sex-slaves, and my writing (fiction or nonfiction) calls attention to this social ill, makes people more aware of the problem, I have raised consciousness at this level.

There is a long history of literature calling attention to social injustice. To name a few examples:

  • The horror of war—Johnny Got Your Gun
  • Racial prejudice—To Kill a Mockingbird
  • Exploitation of immigrants—The Jungle

There is another type of ‘calling attention to an issue’ that goes beyond social ills. Authors often write about potential problems that might occur in order to raise awareness, to get readers to think about a particular issue. What if artificial intelligence got out of control as in Terminator? What would an Orwellian 1984 future of government control and propaganda be like? These topics are often explored in speculative fiction. Robert Heinlein, one of my favorite science fiction authors, often addresses social themes in his writing. In many ways, his writing helps to raise consciousness at this first level. My science fiction novel, Sentient, calls attention to certain social themes. Isolation/separation and how this contributes to competition over cooperation, how we treat people with mental illness, and acculturation to violence are just a few of the issues I touch upon. In my nonfiction book, Pathways to Health, I am asking readers to think about health in a different way, to recognize the distortions and limitations that characterize our beliefs about our own health and how we can achieve better health.

What underlies this first-level approach to raising consciousness is to call attention, to get the reader to notice or to think about something in an introspective way. The process is one of raising awareness so as to effect change. The change may be in a belief, an action or behavior of some sort. This touches upon the second-level, i.e. evolution. I’ll loosely go with a broad definition of evolution as the gradual development of something. The key piece here is “development”–something that occurs as change over time. In this sense, writing to raise consciousness represents an effort to support and promote the evolution of consciousness both on an individual and collective level.

This type of development follows a sequence, much the same as a child first learns to crawl, then walk, then run. This represents increasing motor skill and developmental maturity. On a psychological level, the ego develops along a sequence of self-centered ‘me’ to expanding awareness of others–family, nation, the world, the universe. This is a natural progression of awareness and an evolution of consciousness. This change is accompanied by new ways of thinking, believing, and behaving.

A similar developmental sequence occurs as part of spiritual growth and maturation. Some teachings explain this spiritual evolution as following a path toward enlightenment. I am particularly fond of Integral Theory and how it characterizes the different stages of growth and development along a psycho-spiritual evolution (outward) and involution (inward) path. I am also fond of David Hawkins’ Map of Human Consciousness that delineates characteristic thoughts, beliefs, and actions accompanying each developmental stage of the evolution of consciousness. When I write, sometimes I intend to raise consciousness by getting readers to think differently, to challenge beliefs, to expand and grow in their consciousness. In some ways this represents personal growth and transformation toward a higher level of consciousness. I have often had this experience myself when reading the wisdom of a variety of spiritual teachers. Some of the chapters in my book, Health Wise—Integral Lessons in Transformation, are specifically targeted towards raising consciousness at this second level.

I’ll touch upon the third level more briefly. I also write with the intention of raising consciousness in a much more indigenous way. My explanation thus far has focused on raising awareness and consciousness at the individual level and more broadly at the collective level of society. I also believe that there is a planetary aspect to consciousness that also follows a developmental or evolutionary sequence. The term, “Noosphere” was first coined by Teilhard de Chardin. Basically, you can think of this as not only our specie’s, but the entire planet’s collective consciousness. Such consciousness exists as part of an entire cosmic consciousness. Our planet’s noosphere is evolving towards an expanded capacity as part of the natural evolution of planetary consciousness. This theory/belief is expounded upon in some detail by José Argüelles in his book, Manifesto for the Noosphere.

Many have written about the great shift in consciousness occurring during these times. Rather than writing about this shift or about the noosphere, I am writing with the specific desire of facilitating the shift to occur, to making my small contribution toward the evolution of our planetary consciousness. My individual consciousness, my thoughts and behaviors, and specifically my writing are all generally intended towards promoting the expansion of the noosphere. In my book, Sentient, when I am writing about telepathy and collective consciousness, these are processes associated with the noosphere. Yet, whether or not anyone reads anything that I have written, anything that I do, write, or even think potentially influences the collective planetary consciousness at this third level.

Complicated…straightforward…perfectly muddy? I don’t expect the typical reader to really understand what I mean by, “Writing to Raise Consciousness”. In some ways, it doesn’t matter if a reader understands my intent, my goal. What matters to me is whether or not something I have written has the intended outcome. Does it work? Am I successful in achieving my goal? I don’t know for sure, but if you are at least thinking about these things, feeling a bit introspective, wondering about your own consciousness or the greater collective consciousness, then perhaps I have had some small success. I think of this effort applied in three different dimensions at which I can potentially raise consciousness. In some small way, I hope what I have written has been instrumental in raising your consciousness…


A naked short story

JPEG cover art   I’m still trying to determine whether this is a worthwhile endeavor. Self-publishing a short story all by its lonesome self provokes an internal debate–are you serious vs. why not? Is this a lame attempt to make my author page look better or a legitimate way to get my work out there?

It could be that the answer includes a bit of both. I tried several mainstream sci-fi magazines and kept getting rejected. Is this because the story or the writing is not very good? Is this because I have not yet built up my writing credentials to be given serious consideration? Are there other reasons to explain the editorial decision making? In all honesty, I am not in a position to say.

Yet, I’ve written a story and I would like to get it out to prospective readers. Publishing this solo gets the job done. At the end of the story under the  “About the author…” blurb, I put in a plug for a sci-fi novel I’ve written (and happens to be published by a small press). My thoughts are if a reader likes the short story, perhaps they will purchase the novel. At some point I’ll give the story away as a “loss-leader” to try and generate sales of other things I have written. As a marketing tool, I think the stand-alone short story might have utility.

I welcome all feedback positive or negative about the story, the writing, the cover, and the rationale for self-publishing a naked short. If you send me an email (victoracquista@victoracquista.com) I will gladly send you a pdf file, a gift copy through Amazon, or both. It’s a quick read at less than 5K words. To stimulate curiosity, here is a blurb:

A reclusive physicist vanishes.
A brilliant, unexplained flash of light.
A mysterious spherical void.
A blackboard equation filled with complex calculations, a portion inexplicably missing.
A government cover up.
All explained in this classic sci-fi short story…