Question: Augusto Roa Bastos and William Styron, have which occupation in common?

Context articles: Sergio Buzó
William Styron
La sangre y la semilla
Thunder Among the Leaves
Alias Gardelito
Augusto Roa Bastos
Hijo de hombre
Thirst (1960 film)
Gabriel Casaccia
I, the Supreme

Sergio Buzó (born January 10, 1977) is a self-taught Paraguayan artist who is best known for his pieces created from repurposed materials.
 Buzó currently resides in the artisan town of Areguá where he works on his most notable collection, Nano Guaraní.
 In 2012, Buzó won second place in the Augusto Roa Bastos Visual Art Contest for a cash prize of Gs 3,000,000.
 However, of the 34 participants, the judges decided to not award the first, ninth, and tenth place spots.
William Clark Styron Jr. (June 11, 1925 – November 1, 2006) was an American novelist and essayist who won major literary awards for his work.
La sangre y la semilla is a 1959 Argentine-Paraguayan film, directed by Alberto Du Bois.
 Produced in Spanish and Guaraní, it was shot in the Paraguayan city of Itauguá.
 It stars Argentine actress Olga Zubarry and the Paraguayan Ernesto Báez in the leading roles.
 Written by Augusto Roa Bastos, based on a story by Mario Halley Mora, it is a historical film set in 1870 at the end of the Paraguayan War, during the exodus of the last followers of President Francisco Solano López to Cerro Corá (1870).
 The film premiered on 12 November 1959.
Thunder Among the Leaves (Spanish: "El trueno entre las hojas" ) is a 1958 Argentine drama film directed by Armando Bó, starring himself, Isabel Sarli, Ernesto Báez and Andrés Laszlo.
 The screenplay by Paraguayan writer Augusto Roa Bastos was based on his short story "La hija del ministro".
 Set in Paraguay, the story is about a strike at a sawmill.
Alias Gardelito is a 1961 Argentine drama film directed by Lautaro Murúa and written by Augusto Roa Bastos and Bernardo Kordon.
 The film starred Alberto Argibay, Virginia Lago and Walter Vidarte.
 It won the Silver Condor Award for Best Picture.
Augusto Roa Bastos (June 13, 1917 – April 26, 2005) was a Paraguayan novelist and short story writer.
 As a teenager he fought in the Chaco War between Paraguay and Bolivia, and he later worked as a journalist, screenwriter and professor.
 He is best known for his complex novel "Yo el Supremo" ("I, the Supreme") and for winning the "Premio Miguel de Cervantes" in 1989, Spanish literature's most prestigious prize.
 "Yo el Supremo" explores the dictations and inner thoughts of José Gaspar Rodríguez de Francia, the eccentric dictator of Paraguay who ruled with an iron fist, from 1814 until his death in 1840.
Hijo de hombre ("Son of Man", 1960) is a novel by the Paraguayan author Augusto Roa Bastos
Thirst (Spanish: La sed) aka Hijo de Hombre, aka Choferes del Chaco is a 1960 Argentine-Spanish war film directed by Lucas Demare.
 It is set during the Chaco War (1932-35) between Bolivia and Paraguay, sometimes known as the "War of the Thirst".
 The script is based on a chapter of Augusto Roa Bastos novel "Hijo de Hombre".
 It was made as a co-production between Argentina Sono Film and the Spanish company Suevia Films.
Gabriel Casaccia Bibolini (April 20, 1907 – November 24, 1980) was a Paraguayan novelist.
 He is considered the father of modern Paraguayan literature.
 Augusto Roa Bastos, another notable Paraguayan novelist, is quoted as saying “Gabriel Casaccia is the founder of modern Paraguayan narrative, which gives, in good measure, a fundamental character to all of his work and, to its author, the unusual merit of having launched the genre in a country which was fictionally unknown.”
I, the Supreme (orig.
 Spanish "Yo el supremo") is a historical novel written by exiled Paraguayan author Augusto Roa Bastos.
 It is a fictionalized account of the nineteenth-century Paraguayan dictator José Gaspar Rodríguez de Francia, who was also known as "Dr. Francia."
 The book's title derives from the fact that Francia referred to himself as "El Supremo" or "the Supreme."
 The first in a long line of dictators, the Supreme was a severe, calculating despot.
 The central themes of the novel are power and language and the relation between the two.
 The Supreme believes himself to be above all power and history: "I don't write history.
 I make it.
 I can remake it as I please, adjusting, stressing, enriching its meaning and truth."
 Yet this assertion is constantly challenged by the very fact that while he achieves power by means of writing and dictating, these very same methods can be used by others to dispute his authority.
 Not even his own identity, represented by the personal pronoun "I", is safe and can easily be usurped as is demonstrated by the incident of the pasquinade.
 Language, as powerful as it is, can never be controlled and can just as easily be used as an instrument of coercion as an instrument of resistance.