How I Discovered Visionary Fiction

In 1997 I wrote my short memoir, High Ground: The Bizarre Story of my Awakening, while working as the turf equipment mechanic at the Presidio Golf Course in San Francisco. I’m not sure how many years later it was when I discovered the progressive site OpEdNews. I liked the biography of its founder, Rob Kall, and particularly his interest in the story of awakening. I posted a link to High Ground, and forgot about it.

Years later I rediscovered OpEdNews. Embarrassingly, I had only a vague feeling that I had been there before, but once again found myself drawn to Rob Kall’s interest in awakening. So I signed up, and submitted High Ground. A short time later I received a message from the senior editor –

I have read this story before.

I had to convince her I was the original author now using a pen name. After that, she helped me prepare the manuscript for publication on OpEdNews. In one of her messages, she mentioned that she could see me writing in the genre of The Way of the Peaceful Warrior and The Celestine Prophesy.

Curious as to what genre that might be, I googled it. This is how I discovered the genre of Visionary Fiction, and the Visionary Fiction Alliance. Visionary Fiction has at the core of the story the transformation of human consciousness. I have spent much of my life trying to figure out how consciousness evolves, and have developed a theory that models the transformation of consciousness as the cyclical movement of awareness outward through story space. In my theory, story is modeled as location, and the location where we stand matters because –

  • Where we stand controls what we see.
  • What we see controls how we act.
  • How we act controls the consequences of those actions.

We become trapped inside of static “true” stories like an agoraphobic that is afraid to leave their house. This freezes the evolution of our consciousness and blocks our journey outward through story space toward a larger and clearer understanding of Reality. The history of the people could be written as a battle between the authoritarian forces that seek to bind us inside of a true story that the authoritarians control, and the heroes who seek to free the people, to enable and nurture the evolution of their consciousness. Authoritarians often execute heroes for their efforts.

The war between the authoritarian characters trying to enslave the people, and the heroes trying to free them, has been raging since the dawn of man, and as technology becomes a force-multiplier for both sides in this conflict, its sudden ending becomes increasingly likely.

Will the authoritarians enslave the people on the plantations of the Pirate Lords, rack them in the torture chambers of their Monster King, or kill us all in their madness and reckless disregard for catastrophic consequence? Will the heroes free the people from rage and delusion, unite them in the grateful heart and seeking mind of the hero character, and accelerate them into a future of peace and unimaginable prosperity?

This is the conflict at the heart and mind of The Lord’s Bedchamber, and it will be the central conflict of its sequel, Witch’s Rock, the pilot for a transmedia near-future series integrating science fiction elements and social media tactics driving the “Character Wars” toward dramatic conclusion.