Writers in the Storm

by L. A. Mitchell

I worry about many things as a writer. Will characters land in my reader’s imagination the way I intended? Have I successfully suspended disbelief? Have I been sensitive to issues and identities explored in my pages? Was my story worth the investment of the reader’s money and time?

Lately, I’ve been preoccupied with a new concern. At first, it might seem distant and nuanced, but it’s deeply connected to the nature of books. Their legacy, lasting years beyond their creation, raises valid and thought-provoking questions about their long-term impact on audiences.

Will this story be relevant as society continues to evolve?

I’ve been thinking about one of my favorite childhood books, The Giving Tree, by Shel Silverstein.

For those who never read or don’t remember, the story follows the relationship between a boy and a tree (she/her) that starts playfully innocent and evolves as the boy ages. Each time, the boy stays away for longer periods of time, living his life, and each time he returns, as a young man, then middle-aged, then as an older man, he asks something of the tree. The tree offers what she can (leaves, apples, wood) and says it makes her happy. In the end, when she has nothing left to give, she offers his tired old body a stump to sit and rest.

For some reason, I had two copies of The Giving Tree.

One contained a handwritten note from my godmother: Laura, may you forever be like the tree. As a young elementary school teacher, that same book occupied my classroom library. I’d look at it with a fondness of familiarity and share it with my students occasionally.

As a woman who has raised her adult daughter to go out into the world and set boundaries that she often could not, I am rethinking my entire relationship with this story.

My Thoughts on The Giving Tree Today

Nearly forty-five years exist between the girl who wanted so very much to be like that tree and the woman who, many days, feels like the stump at the end who has nothing left to give.

Certainly, it is a lesson in servitude, generosity, and selflessness as a form of unconditional love. But it’s also a sad little problematic story that portrays a deeply unhealthy relationship with no boundaries or reciprocity.

The realization that my godmother wished me to be forever like the tree adds a layer of complexity to my relationship with the story.

Is this fair? Probably not. It’s akin to looking at history through a modern lens and passing judgment on all we did not know or believe in our less-enlightened form. But it gives me pause to consider how the stories I’ve put into the world will fare with future readers.

• Have I tackled the content as evergreen portrayals of deeply human conflict?
• Have I leaned into my conditioning, biases, and belief system that may be perceived as unhealthy someday?
• Have the ideals and attitudes I injected into my characters doomed them to antiquity, incapable of connecting with ideal readers forty-five years from now?

Is our writing today meant to be a snapshot or timeless?

Let’s examine some stories.

In the early 20^th century…

The Great Gatsby was very much a product of its time. Yet, the idea of challenging class, wealth, and the emptiness of materialism are concepts that resonate with today’s readers. Only eleven years apart, Gone With the Wind leaned heavily into romanticizing an era without much objectivity or sensitivity.

In the mid-20th century…

In the era of The Catcher in the Rye and Lolita, J.D. Salinger’s work tapped into an angst-ridden teenager and the trials of youth with a strong message for mental health. Four years apart, Vladimir Nabokov’s critique on obsession and perversion does not always find sympathetic readers in the modern age.

More recently…

Andy Weir’s The Martian ages well with themes of optimism and ingenuity. As humankind overcomes challenges with space exploration, the setup and context may seem old-fashioned, but science and survival narratives will always transcend any specific moment in society. Six years apart, modern readers are increasingly critical of the wildly popular Twilight books.

Should Stephenie Meyer’s massive hit series be appreciated as a snapshot of society’s attitudes toward feminism and healthy relationships, or does it merit a stronger look at how the narrative could still be problematic to modern readers?

Modern Thoughts on The Giving Tree

If I were to rewrite The Giving Tree today, it would likely be a parable about balance and mutual respect over self-sacrifice and martyrdom. But those themes betray the lessons Shel Silverstein intended.

Perhaps I should shift my perception to one of celebration—to recognize how far the dialogue regarding mental health and evolving societal roles has come—instead of remaining sad about the brokenness I feel toward a once cherished story.

Shel Silverstein never fancied himself a children’s writer.

The Giving Tree, ranked 85^th in the School Library Journal’s Top 100 picture books of all time, wasn’t even his favorite. To the day of his death, the author insisted there was no greater meaning, no weightier interpretation.

“It’s just a relationship between two people. One gives, and the other takes.”

Even at its simplest, the way the author intended it, the fact that it was aimed at children is the most problematic.

Over the years, many have injected their interpretations into the 600-word story, calling it:

• a study of the ego and the self
• a metaphor for a capitalist society
• a parable about technology taking advantage of the tree’s labor to create inferior products that never quench the boy’s needs
• a cautionary environmental tale

Religious, psychological, sociological, satirical—nearly all facets of thought have weighed in since the book’s publication in 1964.

Final Thought

Art will always beg for alternative thoughts. Is the provocation of societal narratives, the spark of conversation to decide where we collectively wish to be, the greatest legacy our writing can have? Or is it more desirable to aim for touchpoints of our collective humanity so that future generations will look upon our books with favor?

What are your thoughts? As writers, do we carry the burden for the present and future audiences? Should legacy be considered at any point in a project’s creation? We'd love to hear your thoughts down in the comments!

About Laura

L.A. (Laura) Mitchell is a seasoned ghostwriter with 39 published works behind her. Her expertise spans genres, from heartwarming romances to thought-provoking non-fiction. Her YA fantasy, Farthermost, originally a ghostwritten novel for which she purchased the rights back, was an April 2023 feature of Amazon's Kindle Vella program. Beyond writing, Laura is a coach, editor, and publishing assistant, helping authors refine their craft and achieve a successful book launch. In her downtime, she’s also learning Korean to move away from subtitles while binging the latest Kdramas. She loves meeting writers at all stages, so reach out to her through her socials or website and subscribe to her biweekly newsletter for writers.

Farthermost on Vella: https://www.amazon.com/dp/B0BLY3CQB7/

Website: https://www.la-mitchell.com

Also: https://buymeacoffee.com/lamitchell

Top Image purchased from Depositphotos.

by Lisa Norman

“I am a warrior, so that my son may be a merchant, so that his son may be a poet.”

This quote, often attributed to John Quincy Adams, stuck in my brain the first time I heard it. It beautifully captures the idea that being a poet—or any kind of creator—is of the highest value, something generations could strive toward. So why do many authors undervalue their work—and themselves? The challenge is understanding “perceived value.”

What is Perceived Value?

The Cambridge Dictionary defines perceived value as “the value of a product based on how much customers want or need it, rather than on its real price.” This differs from “intrinsic worth” or items that have a specific value.

Another way to look at this is that perceived value does NOT equal the cost of a thing specifically; however, it can influence what an author charges and what a reader is willing to pay. Intrinsic value is what a thing costs. The intrinsic value of an ounce of gold in the moment that I write this is $2500. If you melt that down and turn it into a family heirloom, the perceived value might be higher. Or if it was an ugly thing, you might just give it away!

It is important to understand that both the author and the readers are dealing with the concept of perceived value.

For authors, many factors influence perceived value, including self-worth, feedback from reviewers, and market trends. Not understanding the true value of our work can lead to stress as well as confuse readers.

Pricing Strategies and Perceived Value

Many authors price their books low, hoping to attract more sales. However, as Mark Coker of Smashwords pointed out many years ago, raising the price of an ebook can sometimes enhance its perceived value and lead to better sales.

One author I have worked with for years consistently works to price her books as low as possible. She covers her costs and makes a small profit. Her books sell extremely well for their genre, but the profit is barely above cost. She’s just been happy that so many people want to read her books. Recently, one of her friends published her first book and priced it at over twice the price of my friend’s book. And people bought it. My friend finally questioned her pricing strategy.

Was the first author undervaluing her work or was her friend overvaluing hers?

Impact of Pricing on Self-Worth

Pricing decisions can significantly affect an author’s self-esteem and perceived worth. A friend of mine raised their Substack subscription price from $7 to $10 per month and found that their own sense of self-worth improved. They commented, “Funny, I feel MORE confident now.” And their subscriptions increased. Pricing can influence not just sales, but also personal confidence.

Ethical Considerations

It’s important to mention that price collaboration between publishers—even indie publishers and authors—is illegal. That is price fixing. Don’t do that. Instead, thoughtfully consider the value of your work when setting prices. Get access to statistics on current book sales trends. Talk to your fans and look at what other books in your genre are selling for.

My own experiences with Perceived Value:

Undervaluing Work:

My mother had a natural gift for art, but growing up, she was always told that art wouldn’t pay the bills. Coming from a poor background, she chose a career that would keep her out of poverty. She never took her art seriously, only doodling on the edges of papers and contracts.

Later in life, after battling cancer, she finally had the freedom to study art and discovered just how talented she was. Her friends were amazed by her skill. I often wonder what beauty she could have shared with the world if she had pursued her passion earlier.

Just before she passed away, she lived in an area with many highly respected artists. She saw the value of art firsthand, visiting their mansions and seeing their paintings sell for thousands of dollars. Her regret has fueled my determination to pursue my writing passion.

Overvaluing Work:

My father, on the other hand, had an inflated sense of his own worth as an author. He once sent me a manuscript to critique, and I gave him extensive feedback. He was furious, insisting I had no idea what real writing was. Later, he paid a company to print many copies of the book without making any changes from the draft I’d seen. Those books sat in his garage until he died. One reviewer even called it “the worst book ever written.”

Whenever I seek critiques on my writing, the real question I’m asking is, “Is it actually any good?” Because I’ve seen firsthand how blind someone can be to their own lack of talent.

Just Right:

My father’s brother also wrote a book. After my harsh critique of Dad’s book, he sent me his brother’s draft, hoping for similar feedback. Misery loves company, right? But to my surprise, his brother’s book was well-written and edited, with a clear plot and engaging story. I suggested he try to get it published, and he found a small indie publisher who published it successfully. He learned to value his own worth through positive feedback and successful publication.

Practical Tips for Authors

Assess Your Value: Keep track of market trends, reader feedback, and your own self-worth. Good pricing strategies include researching similar books in the market and setting a price that reflects the quality of the work.

Invest in Yourself: You are worth it! If you find that your writing is lacking in some area, invest in your craft by taking classes, using tools and technology, and collaborating with editors and professional artists. These investments enhance the quality of your work and its perceived value.

Something as simple as treating yourself to a trip to an artsy coffee shop to spend time with a fellow writer can increase your confidence.

Prioritize your emotional well-being.

Recognize the worth of both yourself and your art.

Remember, the value of your work is not just in its price tag but in the impact it has on your readers and yourself.

How do you determine the value of your work, and how has it affected your pricing strategy?

About Lisa

Lisa Norman's passion has been writing since she could hold a pencil. While that is a cliché, she is unique in that her first novel was written on gum wrappers. As a young woman, she learned to program and discovered she has a talent for helping people and computers learn to work together and play nice. When she's not playing with her daughter, writing, or designing for the web, she can be found wandering the local beaches.

Lisa writes as Deleyna Marr and is the owner of Deleyna's Dynamic Designs, a web development company focused on helping writers, and Heart Ally Books, LLC, an indie publishing firm.

Interested in learning more from Lisa? Sign up for her newsletter or check out her school, No Stress Writing Academy, where she teaches social media, organization, technical skills, and marketing for authors!

Top image by Markéta Klimešová from Pixabay

by Sarah "Sally" Hamer

For most of my writing career, I have been called the "Fifty-page Wonder" by my critique group because I could come up with a story idea, flesh out the main two or three characters, and pull fifty pages out of my hat with relative ease. I won dozens of writing contests back when the romance genre had lots of contests, and even was nominated twice for in the Golden Heart contests. But, all too often, I lost steam and the fifty pages went under the bed, gathering dust bunnies.

Why? I just didn't know what was going to happen next or after that or after that. My characters just laughed at me when I asked what they wanted or needed or were willing to work for, and I struggled to make those stories come together into a cohesive, believable, and likable tale.

I finally had to learn to edit books to figure it out.

What did editing teach me about writing?

Many many things, but here are the three that made the most difference.

#1 Everyone gets a GMC.

I create a goal, motivation, and conflict for my characters, whether they like it or not. Each "important" character needs one of each to really come alive. All too often, if you don't know what they want, you can't create a place to go. So, as part of that, you also have to…(see next line)

#2 - Know how the book is going to end.

Since your protagonist has a goal, a realistic ending where the original goal (or the new and improved one discovered along the way) comes true. Do you know where the characters will end up? If so, it's mostly about putting plausible obstacles in the way.

#3 - Set up a structure.

We know stories have certain things that happen in certain places throughout the story. The Hero's Journey is, of course, the industry standard but isn't set in concrete. Many writers, especially if they're also strong readers, follow the hero’s journey automatically.

We know there must be an Ordinary World that needs an Inciting Incident to start the story. Then, we need our characters to jump from the Ordinary World into the Extraordinary World to learn the lessons. The largest and most important lesson, of course, is midway through: the Reversal – although it goes by many names. The second half of the book is the unraveling and putting back together of the character's character as the new understanding helps them find the real goal,

Last, but certainly not least, is the buildup to the end. It has many aspects: the hero/ine finding a path to reach the goal, a black moment where it seems unobtainable, a sacrifice when a choice MUST be made, conflict over that choice, finding the answer from within, and, finally, the execution of the plan.

It all sounds simple when I write it. And, ultimately, it is, once we know how to do it. Some writers do this in the first draft, and some do it later.

Final Thought

Give yourself a break. I've pulled more than one of those stories out from under the bed and finished it years later. It's like I needed to let them percolate under there with those dust bunnies until they were finally ready to be finished. And, until I knew exactly how to make that happen.

Do you have "under the bed stories?" Do you finish them? What tools do you use to help you get from idea to finished story? Please share them with use in the comments!

About Sally

Sarah (Sally) Hamer, B.S., MLA, is a lover of books, a teacher of writers, and a believer in a good story. Most of all, she is eternally fascinated by people and how they 'tick'. She’s passionate about helping people tell their own stories and has won awards at both local and national levels, including two Golden Heart finals.

A teacher of memoir, beginning and advanced creative fiction writing, and screenwriting at Louisiana State University in Shreveport for over twenty years, she also teaches online for Margie Lawson at http://www.margielawson.com and the No Stress Writing Academy, teaching "The Triangle of Structure"  and other classes. Sally is a freelance editor and book coach, with many of her students and clients becoming successful, award-winning authors.

You can find her at info@mindpotential.org. 

Top photo from Depositphotos.