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Kyle A. Massa is the author of the short fiction collection Monsters at Dusk and and the novel Gerald Barkley Rocks. He lives in upstate New York with his wife and their two cats. Learn more about Kyle and his work at his website, kyleamassa.com.

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7 Ways To Write About The Weather

Writing about the weather is boring? No way! We all check up on the weather several times each day. It decides so much of our lives. It should be part of your writing, too. This article offers you seven ways to write about the weather.

I love talking about the weather. It decides what I wear, how I travel (if I travel at all), my health, and even my mood . That’s not counting ‘bad hair days.’

Weather forecasts are important for farmers, for utility companies, and they help protect our lives and property. If you could control the weather, you’d get to decide who goes hungry in this world and who doesn’t. That’s how important the weather is. So, where’s the weather in your writing?

Many writers tend to make weather take the backseat. They don’t realise what the weather can do for them. So, let’s find out!

How to Use The Weather In Stories

Here are 7 ways to use the weather in your stories. We’ll start with the most common ones (also the most boring) and work our way up to the exciting stuff.

1. Weather As A Conversation Starter

‘What’s the weather like?’ is the world’s number one question. Whatever you say or ask about the weather can be used as a conversation starter. It’s that universal. That’s also where the danger lies. Talking about the weather is a cliché .

So, use these classic phrases sparingly (or not at all). If you absolutely need to, then make your characters aware of their need to use a cliché. Here’s an example:

Example:  He just had to speak to the girl at the bus stop. But how could he make her talk? His brain was a blank. He knew he resorted to a cliché when he blurted out: ‘Nice weather, eh?’

Here, using the cliché is needed to show how desperate the character is to start a conversation.

2. Weather As A Backdrop

The most common use of the weather in fiction is as an inconspicuous element of the setting in sentences like this one:

Example:     On a sunny day, Jane went to the public library.

Not exciting, right? That’s because the weather doesn’t do anything. It’s stated as a fact, obvious and boring. It’s telling. How about showing it instead?

Example: ‘A T-shirt is enough,’ Jane thought, glad to put her cardigan aside, as she left the house to go to the public library. Who needed extra baggage on a day like this?

In this example, the character experiences the weather. We even learn how that affects Jane’s mood. Much better, isn’t it?

3. Weather As A Sensual Experience

Let’s see if we can provide even more showing (check out these ‘ 101 Words To Describe the Weather ’). Weather is how we experience the force of the elements. That makes it intensely sensual: rain feels wet and cold, and it makes us depressed. Sunshine is the opposite.

There’s more. Humidity causes hair to get frizzy, and hairdos to collapse (‘bad hair days’). Many people get migraines under certain weather conditions. Air pressure in combination with temperature changes people’s blood pressure. Mental health can also be affected by the weather . Talk about feeling ‘under the weather!’

So, how about describing how the weather feels on your characters’ skin? How does it affect their mood?

4. Weather As Foreshadowing

As authors, we’re in control of the story, we steer our readers’ attention. Most readers appreciate it when we do this in a subtle way. That’s called foreshadowing . Authors hint at future events by creating an atmosphere (pun intended). Let’s look at our example from above and include the weather. Watch what happens at the end.

Example : ‘A T-shirt is enough,’ Jane thought, glad to put her cardigan aside, as she left the house to go to the public library. Who needed extra baggage on a day like this? She skipped down the street. At a traffic light, she looked up at  the sky. ‘Funny,’ she thought, ‘that cloud wasn’t there when I left home.’

As readers, we expect that little cloud to grow to grow into a storm. This storm can happen literally (as setting), or emotionally. That little cloud could easily foreshadow difficult emotions.

Just by describing this change of weather, you plant a little seed for the reader to expect a future event. This, of course, also works in the other direction. Just think of the Bible when Noah saw the sky clearing up. He knew that God’s anger was lessening as well.

5. Weather As A Source Of Conflict

Braving the weather means we withstand the elements. This can create situations where a cast of characters needs to show their true colours.

Imagine people on a deserted island in the Caribbean. Everybody gets along well when the sun is shining, and fish are plenty. Now introduce a thunderstorm. You will have people fighting for shelter and the only remaining fish.

6. Weather As A Motif

In the Hollywood movie L.A. Story ’ (1991), actor Steve Martin plays a TV weatherman. He prerecords his forecasts because the weather in L.A. is always the same. His usual comment ‘Sunny and 72’ becomes a funny catchphrase in the story.

That way, the weather is introduced as the main character’s occupation and is used as a motif throughout the movie. It starts as a cliché, which becomes the source of ridicule (the temperature in his forecasts doesn’t even change one degree). In the end, the weather finally acts almost like a character (please read on).

7. Weather As An Acting Force

This is where the weather becomes most interesting! Let’s go back to the movie ‘L.A. Story.’ The TV weatherman falls in love with Sara, who at some point wants to leave the city by plane. But the story has shown us so far that these two are meant to be together. How can this be resolved?

The weather makes it possible. A rainstorm prevents the plane from taking off, and Sara is reunited with her weatherman. The weather needed to take action, or the narrative would not have reached a happy ending.

This is not the only story in which the weather took centre stage. Look at the classics! Many ancient gods had attributes connected to the weather: Zeus had bolts of lightning, and Tempestas was the Roman goddess of storms and sudden weather (guess where the word ‘tempest’ comes from!). The Egyptians had four gods for wind (one for each direction). In Russian folklore, Santa Claus is known as Father Frost. These classic characters act through the weather!

The weather is ultimately the way humans experience the force of the elements. We can all choose to ignore the weather, but we can’t escape it.

The Last Word

Make the weather work for your stories. Don’t just mention it; let it give an extra layer to your setting, increase the showing,  add conflict, and even function as if it were a character . I hope I have been able to show just how exciting the weather can be.

There’s one more thing: the weather can take over your language. There are so many idioms and phrases connected to the weather! If you’d like to know more, then please watch out for my next post. It’ll include a cheat sheet with ’ 80 Weather Expressions.’

By Susanne Bennett.

Susanne  is a German-American writer who is a journalist by trade and a writer by heart. After years of working at German public radio and an online news portal, she has decided to accept challenges by  Deadlines for Writers . Currently she is writing her first novel with them. She is known for overweight purses and carrying a novel everywhere. Follow her on  Facebook .

More Posts From Susanne

• 7 Steps To Celebrate ‘The End’
• How To Write A Cosy Mystery
• Punctuation For Poets
• The Powerhouse Of Writing 6: Colons, Semicolons, & Dashes
• The Powerhouse Of Writing 5: Quotation Marks
• The Powerhouse Of Writing 4: The Question Mark
• The Powerhouse of Writing 3: The Exclamation Mark
• The Powerhouse of Writing 2: The Comma
• The Powerhouse Of Writing 1: The Full Stop
• How To Play Surrealist Word Games

Top Tip : Find out more about our  workbooks  and  online courses  in our  shop .

• Featured Post , Setting , Susanne Bennett

© Writers Write 2022

26 Metaphors for Weather: Exploring the Vivid Language of Nature

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Weather has always fascinated us, inspiring poets, writers, and everyday conversations. It’s amazing how the elements can be described in countless ways, each metaphor painting a unique picture of nature’s moods. In this article, we delve into the world of weather metaphors, exploring 26 captivating expressions that bring the elements to life.

26 Metaphors for Weather

• The Sky’s Tears – Describing rain as “the sky’s tears” conveys a sense of sadness or melancholy.
• A Blanket of Snow – Snowfall can be compared to a cozy blanket covering the ground.
• The Roar of Thunder – Thunderstorms are nature’s orchestra, with thunder as its powerful percussion.
• The Whispering Wind – Gentle breezes are like whispers from the wind, carrying secrets and stories from afar.
• The Sun’s Embrace – Sunshine can be described as the warm and comforting embrace of the sun.
• Mist’s Mysteries – Fog and mist can shroud the world in mystery, concealing what lies beyond.
• The Icy Grip of Winter – Winter’s chill can be compared to an icy grip, as it freezes everything in its path.
• Dancing Raindrops – When raindrops fall , they dance on surfaces, creating a rhythmic and soothing melody.
• The Breath of Autumn – The cool, crisp air of autumn is like a refreshing breath of nature.
• The Fiery Sunset – A sunset can be likened to a fire in the sky, painting the horizon with vibrant colors.
• The Hush of Snowfall – As snow falls gently to the ground, it creates a hushed atmosphere.
• The Wrath of the Storm – Storms can be described as nature’s fury, unleashing its anger upon the world.
• The Gentle Caress of Spring – Spring’s arrival is like a gentle caress, awakening the world from its slumber.
• The Ocean’s Sigh – Waves crashing on the shore can be compared to the deep sighs of the ocean.
• The Whispers of the Leaves – Rustling leaves in the wind are like whispers from the trees, sharing their secrets with the world.
• The Velvet Night – A clear, starry night can be described as velvety, soft, and full of dreams .
• The Embrace of the Tides – High tides can be likened to the sea’s loving embrace, reaching out to touch the shore.
• The Song of the Birds – Birdsong in the morning is like nature’s symphony, announcing the arrival of a new day.
• The Scent of Rain – The earthy smell that follows rain can be compared to nature’s perfume.
• The Breath of Summer – Summer’s warmth is like a gentle breath, wrapping us in its comforting embrace.
• The Laughter of Sunshine – Sunshine can be described as nature’s laughter, bringing joy and brightness.
• The Cradle of Clouds – Clouds can be seen as a cradle, rocking the sky to sleep with their gentle movements.
• The Velvet Touch of Dusk – Dusk, with its soft, fading light, is like a velvet touch, signaling the end of the day.
• The Symphony of Rainbows – Rainbows are nature’s symphony of colors, a beautiful and harmonious display.
• The Whispers of the Stars – The night sky, adorned with stars, seems to whisper the secrets of the universe.
• The Fury of a Hurricane – Hurricanes can be likened to nature’s fury, a powerful and destructive force.

These metaphors add vividness and depth to descriptions of weather, allowing readers to visualize and connect with nature in a unique way.

1. The Sky’s Tears

Alternative Words/Phrases:

• Heavenly Weeping
• Celestial Crying
• Atmospheric Sorrow

Explanation: “The Sky’s Tears” is a metaphor that poetically describes rain as if the sky is shedding tears. It conveys a sense of sadness or sorrow associated with rainy weather.

Scenario: Formal Context: In a formal email discussing a weather-related event or news, you can use this metaphor to add a touch of literary flair. For example, “Dear colleagues, due to the recent inclement weather, the sky’s tears have been relentless, causing flooding in several areas.”

Informal Context: When chatting with friends about a rainy day, you might say, “I love how the sky’s tears make everything feel fresh and clean.”

Example Sentence: “The sky’s tears fell gently upon the garden, nurturing the flowers and bringing life to the earth .”

2. A Blanket of Snow

• White Comfort
• Winter’s Cover
• Frosty Blanket

Explanation: “A Blanket of Snow” compares snowfall to a cozy covering that blankets the ground, creating a serene and peaceful landscape.

Scenario: Formal Context: In a formal report about winter weather conditions, you can use this metaphor to describe the extent of snowfall. For instance, “The region experienced a substantial blanket of snow, resulting in travel disruptions.”

Informal Context: When sharing your excitement about the first snowfall with friends, you might say, “Waking up to a world covered in a blanket of snow is pure magic!”

Example Sentence: “The town was enveloped in a pristine blanket of snow, muffling the sounds of the bustling city.”

3. The Roar of Thunder

• Thunder’s Symphony
• Sky’s Drumroll
• Nature’s Percussion

Explanation: “The Roar of Thunder” likens thunderstorms to a powerful orchestra, with thunder serving as its percussion instrument. It conveys the intensity and dramatic nature of thunderstorms.

Scenario: Formal Context: In a scientific paper discussing atmospheric phenomena, you can use this metaphor to describe thunder’s role. For example, “Thunder, often referred to as the roar of thunder, is a result of rapid air expansion during lightning strikes.”

Informal Context: When chatting with friends during a thunderstorm, you might say, “Did you hear that incredible roar of thunder? It felt like the sky’s drumroll!”

Example Sentence: “The roar of thunder echoed through the valley, shaking the ground with its sheer power .”

4. The Whispering Wind

• Breezy Whispers
• Zephyr’s Secrets
• Gentle Murmurs

Explanation: “The Whispering Wind” compares gentle breezes to whispers from the wind, suggesting a sense of mystery and tranquility in the air.

Scenario: Formal Context: In a travel brochure describing a serene destination, you can use this metaphor to evoke a sense of calm. For instance, “Visit our resort and experience the soothing embrace of the whispering wind.”

Informal Context: When enjoying a peaceful evening with friends outdoors, you might say, “I love how the whispering wind rustles through the trees, it’s so relaxing.”

Example Sentence: “As the sun set, the whispering wind carried the scent of blooming flowers, creating a serene atmosphere.”

5. The Sun’s Embrace

• Sunshine’s Warmth
• Radiant Embrace

Explanation: “The Sun’s Embrace” portrays sunshine as a warm and comforting embrace from the sun. It conveys the idea of light, happiness, and positivity.

Scenario: Formal Context: In a motivational speech, you can use this metaphor to inspire optimism. For example, “Just as the sun’s embrace brightens our day, let positivity embrace your life.”

Informal Context: When complimenting a friend’s cheerful demeanor, you might say, “Your smile feels like a ray of the sun’s embrace!”

Example Sentence: “As I stepped into the sunlight, I felt the sun’s embrace warming my skin and lifting my spirits.”

6. Mist’s Mysteries

• Enigmatic Fog
• Fog’s Secrets
• Veil of Mystery

Explanation: “Mist’s Mysteries” describes fog and mist as shrouding the world in mystery, concealing what lies beyond. It suggests an element of intrigue and uncertainty.

Scenario: Formal Context: In a mystery novel’s atmospheric description, you can use this metaphor to set the mood. For instance, “The mist’s mysteries enveloped the ancient castle, hiding its secrets.”

Informal Context: When describing a foggy morning walk, you might say, “Walking through the mist’s mysteries felt like exploring a hidden world.”

Example Sentence: “The mist’s mysteries veiled the forest, creating an eerie and enchanting ambiance.”

7. The Icy Grip of Winter

• Winter’s Chill
• Frosty Embrace
• Freezing Grasp

Explanation: “The Icy Grip of Winter” characterizes winter’s cold as an icy grip, emphasizing its ability to freeze everything in its path.

Scenario: Formal Context: In a safety advisory about winter weather, you can use this metaphor to highlight the dangers of extreme cold. For example, “Beware of the icy grip of winter, which can pose severe health risks.”

Informal Context: When describing a particularly cold day, you might say, “I could feel the icy grip of winter as I stepped outside.”

Example Sentence: “The icy grip of winter turned the lake into a crystal-clear wonderland, with its surface frozen in time.”

8. Dancing Raindrops

• Rain’s Ballet
• Precipitation’s Waltz
• Liquid Choreography

Explanation: “Dancing Raindrops” portrays raindrops as gracefully dancing when they fall, creating a rhythmic and soothing melody.

Scenario: Formal Context: In a weather documentary, you can use this metaphor to describe rain’s beauty. For instance, “Watch as the dancing raindrops create a mesmerizing display in the heart of the storm.”

Informal Context: When reminiscing about a rainy day with a friend, you might say, “I sat by the window, listening to the soothing music of the dancing raindrops.”

Example Sentence: “The dancing raindrops on the rooftop provided a tranquil background score to the evening.”

9. The Breath of Autumn

• Fall’s Exhale
• Autumn’s Sigh
• Seasonal Breeze

Explanation: “The Breath of Autumn” likens the cool, crisp air of autumn to a refreshing breath of nature, symbolizing the changing of seasons.

Scenario: Formal Context: In a travel brochure promoting autumn getaways, you can use this metaphor to emphasize the rejuvenating aspects of the season. For example, “Experience the invigorating breath of autumn at our scenic retreat.”

Informal Context: When discussing your favorite season with friends, you might say, “There’s something magical about the breath of autumn, with its cool, crisp air.”

Example Sentence: “As I walked through the forest, I could feel the breath of autumn on my skin, a reminder of the changing seasons.”

10. The Fiery Sunset

• Sunset’s Blaze
• Dusk’s Inferno
• Evening’s Fireworks

Explanation: “The Fiery Sunset” describes a sunset as resembling a fire in the sky, with vibrant colors painting the horizon.

Scenario: Formal Context: In an art critique, you can use this metaphor to analyze a painting of a sunset. For instance, “The artist captured the intensity of the fiery sunset with bold strokes of color.”

Informal Context: When sharing your admiration for a stunning sunset with a friend, you might say, “Tonight’s fiery sunset was like nature’s own fireworks display!”

Example Sentence: “The fiery sunset bathed the landscape in hues of orange, red, and gold, creating a breathtaking spectacle.”

11. The Hush of Snowfall

• Snow’s Silence
• Silent Blizzard
• Winter’s Quiet

Explanation: “The Hush of Snowfall” characterizes the falling snow as creating a hushed atmosphere, suggesting a peaceful and serene ambiance.

Scenario: Formal Context: In a winter safety guide, you can use this metaphor to emphasize the need for caution during heavy snowfall. For example, “During the hush of snowfall, it’s crucial to stay prepared for adverse weather conditions.”

Informal Context: When reminiscing about a snow day with friends, you might say, “There’s something magical about the hush of snowfall, everything feels so calm.”

Example Sentence: “As the snowflakes descended, the hush of snowfall blanketed the city in tranquil stillness.”

12. The Wrath of the Storm

• Storm’s Fury
• Tempest’s Rage
• Nature’s Fury

Explanation: “The Wrath of the Storm” depicts storms as nature’s fury, highlighting their power, intensity, and potential for destruction.

Scenario: Formal Context: In a news report covering a severe storm, you can use this metaphor to convey the seriousness of the situation. For instance, “The wrath of the storm left a trail of devastation in its wake.”

Informal Context: When discussing stormy weather with friends, you might say, “I’ve never seen the ocean so turbulent, it’s like witnessing the wrath of the storm.”

Example Sentence: “The wrath of the storm unleashed torrential rain and fierce winds, causing widespread damage.”

13. The Gentle Caress of Spring

• Spring’s Tender Touch
• Season’s Embrace
• Nature’s Affection

Explanation: “The Gentle Caress of Spring” describes the arrival of spring as a gentle and tender touch from the season, awakening the world from its slumber.

Scenario: Formal Context: In a botanical magazine highlighting the beauty of spring blooms, you can use this metaphor to convey the nurturing aspect of spring. For example, “Experience the gentle caress of spring as blossoms grace our gardens.”

Informal Context: When expressing your love for spring to a friend, you might say, “I adore the gentle caress of spring; it’s like nature’s way of saying ‘hello.'”

Example Sentence: “As the days grew longer, the gentle caress of spring brought forth vibrant flowers and lush greenery.”

14. The Ocean’s Sigh

• Seaside Murmur
• Coastal Whispers
• Waves’ Exhale

Explanation: “The Ocean’s Sigh” likens the sound of waves crashing on the shore to the deep, soothing sighs of the ocean, creating a sense of tranquility.

Scenario: Formal Context: In a relaxation guide promoting coastal getaways, you can use this metaphor to evoke a sense of calm and peace. For instance, “Find solace in the ocean’s sigh during your seaside retreat.”

Informal Context: When describing a recent beach vacation to friends, you might say, “Listening to the ocean’s sigh every morning was the best part of our trip.”

Example Sentence: “The ocean’s sigh, a symphony of waves, lulled me into a state of complete relaxation.”

15. The Whispers of the Leaves

• Foliage’s Secrets
• Trees’ Murmurs
• Rustling Conversations

Explanation: “The Whispers of the Leaves” portrays the rustling of leaves in the wind as akin to whispers from the trees, suggesting a connection between nature and its observers.

Scenario: Formal Context: In an environmental awareness campaign, you can use this metaphor to emphasize the importance of preserving natural spaces. For example, “Protecting our forests ensures the continued whispers of the leaves for generations to come.”

Informal Context: When sharing your love for the outdoors with friends, you might say, “There’s something magical about the whispers of the leaves in the forest—it’s like nature’s own conversation.”

Example Sentence: “As I walked through the woods, the whispers of the leaves created a serene and enchanting atmosphere.”

16. The Velvet Night

• Night’s Softness
• Evening’s Elegance
• Starry Velvet

Explanation: “The Velvet Night” describes a clear, starry night as soft and elegant, full of dreams and tranquility.

Scenario: Formal Context: In a stargazing event announcement, you can use this metaphor to set the mood for an evening of celestial observation. For instance, “Join us for an enchanting night under the velvet night sky, where stars twinkle like diamonds.”

Informal Context: When expressing your fascination with the night sky to friends, you might say, “There’s something truly magical about the velvet night—it feels like the universe is wrapped in beauty.”

Example Sentence: “As I gazed at the starry, velvet night, I couldn’t help but feel a sense of wonder and awe.”

Frequently Asked Questions

Q: Are these metaphors commonly used in literature?

Yes, many of these metaphors are frequently used in literature, poetry, and everyday language to vividly describe weather phenomena.

Q: Can I create my own weather metaphors?

Absolutely! Creating your own weather metaphors can be a fun and creative way to express yourself and describe the world around you.

Q: Do weather metaphors vary by culture?

Yes, different cultures may have their own unique weather metaphors and expressions based on their climate and experiences.

Q: Are weather metaphors only used in English?

No, weather metaphors are used in many languages to convey the beauty and moods of the elements.

Q: Do these metaphors have deeper meanings?

Some weather metaphors may carry deeper symbolic meanings, while others are more straightforward descriptions of weather phenomena.

Q: Can I use these metaphors in my writing?

Absolutely! These metaphors can add depth and vividness to your writing, making it more engaging and descriptive.

Exploring the world of weather metaphors is like embarking on a poetic journey through the elements. Each metaphor paints a unique and vivid picture of nature’s moods, from the gentle caress of spring to the fury of a hurricane.

By incorporating these metaphors into your writing, you can add depth and beauty to your descriptions of the world around you.

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Sean2112bd New Member

I starting a story with weather bad.

Discussion in ' Plot Development ' started by Sean2112bd , Feb 20, 2011 .

googletag.cmd.push(function() { googletag.display('funpub_c14654ce36c5579043e19756d4558cdf'); }); Is starting a story with weather bad? Is it because it's been done so many times that it's become taboo?  

Elgaisma Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_c14654ce36c5579043e19756d4558cdf'); }); Depends why you are using it ? If weather frames the events in your book and provides a back drop to your story then it can be very powerful. If its just a cheap atmospheric trick not - it can be useful in determining time of year and then its OK At least thta is my view.  

Manav New Member

googletag.cmd.push(function() { googletag.display('funpub_c14654ce36c5579043e19756d4558cdf'); }); Nothing wrong in starting out with bad (or good) weather. Just make sure you don't use cliched phrases to describe it. Also, as Elglaisma said, you should have a reason for using the weather, creating the mood, setting etc.  

Eunoia Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_c14654ce36c5579043e19756d4558cdf'); }); As long as it's engaging then why not? Just don't start it with something like 'It was a cold and stormy night' or some other cliche.  

Chris16 New Member

googletag.cmd.push(function() { googletag.display('funpub_c14654ce36c5579043e19756d4558cdf'); }); At least in what I read on here, weather-openings always sound like the writer trying to show off their prose. It's boring.  

ChickenFreak Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_c14654ce36c5579043e19756d4558cdf'); }); I think that weather can be good if it has more of a function than, "This is boring; let's add some wind." I'm re-reading the children's book _A Wrinkle In Time_, and a storm is used to drive the main character out of her attic, to get several characters into the kitchen to talk, to get a strange character into the house because she wants shelter from the storm, and so on. There, I think that the weather works.  

Lemex That's Lord Lemex to you. Contributor

googletag.cmd.push(function() { googletag.display('funpub_c14654ce36c5579043e19756d4558cdf'); }); Opening with a description of weather can be very cliche. But it does depend on how you use it. Mary Shelly started Frankenstein as a short story which was pretty much chapter 5 of the book. The first line was: 'It was a dismal night in November when I beheld the result of my labors' or something to that effect. This line has been cheapened by things like the Hammer films; and it's pretty much a staple of the Gothic. Overall I wouldn't advise opening with a description of weather, but if you want to then go with it. Just be careful.  

Mallory Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_c14654ce36c5579043e19756d4558cdf'); }); Chris16 said: ↑ At least in what I read on here, weather-openings always sound like the writer trying to show off their prose. It's boring. Click to expand...

guamyankee Active Member

googletag.cmd.push(function() { googletag.display('funpub_c14654ce36c5579043e19756d4558cdf'); }); The opening sentence of your work is the same as when someone meets you for the first time. They get a first impression. You'd be better off not using weather, but instead, coming up with something original, something that's going to hook the reader. Think of the first sentence as a microcosm of the rest of your work, and make it damned good.  

tiggertaebo Member

googletag.cmd.push(function() { googletag.display('funpub_c14654ce36c5579043e19756d4558cdf'); }); While I'd agree with most of the sentiments above in that cliched use of the weather as an opening is to be avoided I think it can still have some merit if used with caution. If the weather is pertinent to the situation or mood of the characters or sets a tone then it can be useful. Plus various weather conditions are something more or less any reader can relate to. You have to ask yourself what the weather brings to the scene. My rule of thumb would be to write the scene two ways - first with the weather condition you thought of and then with the opposite, if it works out more or less the same then opening with it probably isn't a good idea.  

Show Contributor Contributor

googletag.cmd.push(function() { googletag.display('funpub_c14654ce36c5579043e19756d4558cdf'); }); Manav said: ↑ Nothing wrong in starting out with bad (or good) weather. Just make sure you don't use cliched phrases to describe it. Also, as Elglaisma said, you should have a reason for using the weather, creating the mood, setting etc. Click to expand...

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How to relate stormy weather to sadness?

Is it possible that stormy weather can be related to sadness? The weather could be related to gloom?

• Can the sadness be introduced at the beginning? –  Jaystar Commented Apr 22, 2018 at 5:56
• 3 Black clouds sprawl across the sky, billowing in from the west. Their brassy glare drains color from houses and trees and burnished cars in driveways, leaving neighborhoods tinted bronze in the faltering light. The air grows heavy and the humidity presses down, suffocating. The scent of rain is dark and heady. A stillness falls over the street, and in the silence comes a low crackle of thunder, rolling across rooftops to the pattering of tiny raindrops. For a moment, everything stops. Even the wind holds its breath. A streak of hot silver splits the sky, and the downpour begins. –  Jaystar Commented Apr 22, 2018 at 6:04
• Isn't the above pretty happy? –  Jaystar Commented Apr 22, 2018 at 6:04
• I wouldn't say the above is happy, no. –  storbror Commented Apr 22, 2018 at 10:07
• 2 They call it pathetic fallacy –  Adi219 Commented Apr 22, 2018 at 11:14

2 Answers 2

Psychological research has indeed shown that the correlation between bad weather and bad mood is not just a literary clichee but a fact: weather can affect your mood .

While mood cannot affect weather, film makers and writers have used weather to reflect the mood of their characters, as in this scene from The Bridges of Madison County , where a neglected housewife runs away from the possibility of happiness with her weekend lover (played by Clint Eastwood), and as she looks back she sees him standing in the rain and looking after her with what we imagine is longing and despair:

But you must be careful with overdoing this. If the weather always changes in tune with the mood of your protagonist, it will quickly become laughable and disrupt the experience of your readers instead of supporting it.

Restrict your use of the weather to certain key scenes – and sometimes counteract the mood of the protagonist with seemingly "unfitting" weather to emphasize their mood even more:

• Using pathetic fallacy certainly is an art –  Adi219 Commented Apr 22, 2018 at 11:15
• If the weather always changes in tune with the mood of your protagonist, it will quickly become laughable and disrupt the experience of you readers instead of supporting it. -- I dunno, seems to work well enough depending on the character :) –  tonysdg Commented Apr 22, 2018 at 11:47
• Will it affect the reader if the rain last almost 1 quarter of the book? –  Jaystar Commented Apr 23, 2018 at 10:09
• @Jaystar I suppose so. But it will all depend on what you do with the rain. For example, I personally hate books that take place in winter, but most of Anne Leckie's Ancillary Justice takes place on a winter planet, and that was a great book. –  user29032 Commented Apr 23, 2018 at 10:31

It's in the language: words like "grey", "dreary" evoke sadness. The sky might be weeping (though that's a little over the top and overused). A lonely seagull might be crying plaintively . Wind might be bighting . Adjectives and adverbs associated with sadness would relate the stormy weather to the emotion you're trying to set for the scene.

Compare that to generous drops falling onto parched earth, washing away some negative whatever. Same rain, different mood. Here, different adjectives set the rain instead as a blessing and a relief.

• Will the sunshine be able to be related to sadness?? –  Jaystar Commented Apr 23, 2018 at 10:14
• @Jaystar sure. The sun can beat over your head , the heat can be stifling , oppressive , or burning your lungs. The sun might be bleaching something, sucking moisture and life out of it. A lonely dead tree might be standing over a dried-out stream bed. Or, if you prefer an European setting, it might be a pale circle devoid of heat . –  Galastel supports GoFundMonica Commented Apr 23, 2018 at 11:44

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Can anyone give me an example of a stormy weather description?

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Weather Script Forecast and Report Examples for Students

Hello to all the teachers and students out there! Today, we’ve got something special for you – weather report script examples for students.

And the good news is, all of these beginner and intermediate weather report scripts can be downloaded right here on Making English Fun!

Beginner Level Weather Report Scripts

Script 1 (for two students).

Anchor: Hello, everyone. What’s the weather today, Sam?

Script 2 (For Two Students)

Anchor: Good morning, Sam. How’s the weather?

Weather Reporter (Sam): Good morning! Today is cold and cloudy. Please wear a jacket. It might rain later. Don’t forget your umbrella!

Script 3 (For Two Students)

Script 1 (for three students).

Weather Reporter (Sam): Hello! It’s windy today. The wind is strong. Be careful outside.

Anchor: Thanks, Sam. We have Mrs. Lee, a teacher, with us. Mrs. Lee, is it a good day for sports?

Script 2 (For Three Students)

Weather Reporter (Sam): Good day! Today, it is very hot. The sun is strong. Wear a hat and drink water.

Anchor: Thanks, Sam. We have Mr. Brown, a park ranger, with us. Mr. Brown, is it safe to go hiking today?

Weather Vocabulary Worksheets Fully Editable Version

Intermediate Level Weather Report Scripts

Anchor: Welcome, viewers. Let’s hear today’s weather from our reporter, Alex.

Weather Reporter (Alex): Good evening! Today, we have mixed weather. The morning will start sunny, but clouds will come in the afternoon. Expect mild temperatures around 70 degrees. It will be a pleasant day overall.

Anchor: What’s the latest on the weather front, Alex?

Script 3 (For Three Students)

Anchor: Alex, what’s the weather forecast?

Interviewee (Mr. Johnson): The rain is good for my crops, but too much can cause problems. We need a balance of sun and rain for the best growth.

Weather Reporter (Alex): Today, we have a typical spring day – mild with scattered showers. Temperatures are in the low 60s, and we might see some sunshine by late afternoon.

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Script Examples for Students.

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Department of English

M.f.a. creative writing.

English Department

Physical Address: 200 Brink Hall

Mailing Address: English Department University of Idaho 875 Perimeter Drive MS 1102 Moscow, Idaho 83844-1102

Phone: 208-885-6156

Email: [email protected]

Web: English

Thank you for your interest in the Creative Writing MFA Program at the University of Idaho: the premier fully funded, three-year MFA program in the Northwest. Situated in the panhandle of Northern Idaho in the foothills of Moscow Mountain, we offer the time and support to train in the traditions, techniques, and practice of nonfiction, poetry, and fiction. Each student graduates as the author of a manuscript of publishable quality after undertaking a rigorous process of thesis preparation and a public defense. Spring in Moscow has come to mean cherry blossoms, snowmelt in Paradise Creek, and the head-turning accomplishments of our thesis-year students. Ours is a faculty of active, working writers who relish teaching and mentorship. We invite you in the following pages to learn about us, our curriculum, our community, and the town of Moscow. If the prospect of giving yourself three years with us to develop as a writer, teacher, and editor is appealing, we look forward to reading your application.

Pure Poetry

A Decade Working in a Smelter Is Topic of Alumnus Zach Eddy’s Poems

Ancestral Recognition

The region surrounding the University of Idaho is the ancestral land of both the Coeur d’Alene and Nez Perce peoples, and its campus in Moscow sits on unceded lands guaranteed to the Nez Perce people in the 1855 Treaty with the Nez Perce. As a land grant university, the University of Idaho also benefits from endowment lands that are the ancestral homes to many of the West’s Native peoples. The Department of English and Creative Writing Program acknowledge this history and share in the communal effort to ensure that the complexities and atrocities of the past remain in our discourse and are never lost to time. We invite you to think of the traditional “land acknowledgment” statement through our MFA alum CMarie Fuhrman’s words .

Degree Requirements

Three years to write.

Regardless of where you are in your artistic career, there is nothing more precious than time. A three-year program gives you time to generate, refine, and edit a body of original work. Typically, students have a light third year, which allows for dedicated time to complete and revise the Creative Thesis. (48 manuscript pages for those working in poetry, 100 pages for those working in prose.)

Our degree requirements are designed to reflect the real-world interests of a writer. Students are encouraged to focus their studies in ways that best reflect their artistic obsessions as well as their lines of intellectual and critical inquiry. In effect, students may be as genre-focused or as multi-genre as they please. Students must remain in-residence during their degrees. Typically, one class earns you 3 credits. The MFA requires a total of 54 earned credits in the following categories.

12 Credits : Graduate-level Workshop courses in Fiction, Poetry, and/or Nonfiction. 9 Credits: Techniques and Traditions courses in Fiction, Poetry, and/or Nonfiction 3 Credits : Internships: Fugue, Confluence Lab, and/or Pedagogy 9 Credits: Literature courses 12 Credits: Elective courses 10 Credits: Thesis

Flexible Degree Path

Students are admitted to our program in one of three genres, Poetry, Fiction, or Nonfiction. By design, our degree path offers ample opportunity to take Workshop, Techniques, Traditions, and Literature courses in any genre. Our faculty work and publish in multiple genres and value the slipperiness of categorization. We encourage students to write in as broad or focused a manner as they see fit. We are not at all interested in making writers “stay in their lanes,” and we encourage students to shape their degree paths in accordance with their passions. 

What You Study

During your degree, you will take Workshop, Techniques, Traditions, and Literature courses.

Our workshop classes are small by design (typically twelve students or fewer) and taught by core and visiting MFA faculty. No two workshop experiences look alike, but what they share are faculty members committed to the artistic and intellectual passions of their workshop participants.

Techniques studios are developed and taught by core and visiting MFA faculty. These popular courses are dedicated to the granular aspects of writing, from deep study of the poetic image to the cultivation of independent inquiry in nonfiction to the raptures of research in fiction. Such courses are heavy on generative writing and experimentation, offering students a dedicated space to hone their craft in a way that is complementary to their primary work.

Traditions seminars are developed and taught by core and visiting MFA faculty. These generative writing courses bring student writing into conversation with a specific trajectory or “tradition” of literature, from life writing to outlaw literature to the history of the short story, from prosody to postwar surrealism to genre-fluidity and beyond. These seminars offer students a dynamic space to position their work within the vast and varied trajectories of literature.

Literature courses are taught by core Literature and MFA faculty. Our department boasts field-leading scholars, interdisciplinary writers and thinkers, and theory-driven practitioners who value the intersection of scholarly study, research, humanism, and creative writing.

Award-Winning Faculty

We teach our classes first and foremost as practitioners of the art. Full stop. Though our styles and interests lie at divergent points on the literary landscape, our common pursuit is to foster the artistic and intellectual growth of our students, regardless of how or why they write. We value individual talent and challenge all students to write deep into their unique passions, identities, histories, aesthetics, and intellects. We view writing not as a marketplace endeavor but as an act of human subjectivity. We’ve authored or edited several books across the genres.

Learn more about Our People .

Thesis Defense

The MFA experience culminates with each student writing and defending a creative thesis. For prose writers, theses are 100 pages of creative work; for poets, 48 pages. Though theses often take the form of an excerpt from a book-in-progress, students have flexibility when it comes to determining the shape, form, and content of their creative projects. In their final year, each student works on envisioning and revising their thesis with three committee members, a Major Professor (core MFA faculty) and two additional Readers (core UI faculty). All students offer a public thesis defense. These events are attended by MFA students, faculty, community members, and other invitees. During a thesis defense, a candidate reads from their work for thirty minutes, answers artistic and critical questions from their Major Professor and two Readers for forty-five minutes, and then answer audience questions for thirty minutes. Though formally structured and rigorous, the thesis defense is ultimately a celebration of each student’s individual talent.

The Symposium Reading Series is a longstanding student-run initiative that offers every second-year MFA candidate an opportunity to read their works-in-progress in front of peers, colleagues, and community members. This reading and Q & A event prepares students for the third-year public thesis defense. These off-campus events are fun and casual, exemplifying our community centered culture and what matters most: the work we’re all here to do.

Teaching Assistantships

All students admitted to the MFA program are fully funded through Teaching Assistantships. All Assistantships come with a full tuition waiver and a stipend, which for the current academic year is roughly $15,000. Over the course of three years, MFA students teach a mix of composition courses, sections of Introduction to Creative Writing (ENGL 290), and additional writing courses, as departmental needs arise. Students may also apply to work in the Writing Center as positions become available. When you join the MFA program at Idaho, you receive teacher training prior to the beginning of your first semester. We value the role MFA students serve within the department and consider each graduate student as a working artist and colleague. Current teaching loads for Teaching Assistants are two courses per semester. Some members of the Fugue editorial staff receive course reductions to offset the demands of editorial work. We also award a variety of competitive and need-based scholarships to help offset general living costs. In addition, we offer three outstanding graduate student fellowships: The Hemingway Fellowship, Centrum Fellowship, and Writing in the Wild Fellowship. Finally, our Graduate and Professional Student Association offers extra-departmental funding in the form of research and travel grants to qualifying students throughout the academic year.

Distinguished Visiting Writers Series

Each year, we bring a Distinguished Visiting Writer to campus. DVWs interface with our writing community through public readings, on-stage craft conversations hosted by core MFA faculty, and small seminars geared toward MFA candidates. Recent DVWs include Maggie Nelson, Roger Reeves, Luis Alberto Urrea, Brian Evenson, Kate Zambreno, Dorianne Laux, Teju Cole, Tyehimba Jess, Claire Vaye Watkins, Naomi Shihab Nye, David Shields, Rebecca Solnit, Gabrielle Calvocoressi, Susan Orlean, Natasha Tretheway, Jo Ann Beard, William Logan, Aisha Sabatini Sloan, Gabino Iglesias, and Marcus Jackson, among several others.

Fugue Journal

Established in 1990 at the University of Idaho, Fugue publishes poetry, fiction, essays, hybrid work, and visual art from established and emerging writers and artists. Fugue is managed and edited entirely by University of Idaho graduate students, with help from graduate and undergraduate readers. We take pride in the work we print, the writers we publish, and the presentation of both print and digital content. We hold an annual contest in both prose and poetry, judged by two nationally recognized writers. Past judges include Pam Houston, Dorianne Laux, Rodney Jones, Mark Doty, Rick Moody, Ellen Bryant Voigt, Jo Ann Beard, Rebecca McClanahan, Patricia Hampl, Traci Brimhall, Edan Lepucki, Tony Hoagland, Chen Chen, Aisha Sabatini Sloan, sam sax, and Leni Zumas. The journal boasts a remarkable list of past contributors, including Steve Almond, Charles Baxter, Stephen Dobyns, Denise Duhamel, Stephen Dunn, B.H. Fairchild, Nick Flynn, Terrance Hayes, Campbell McGrath, W.S. Merwin, Sharon Olds, Jim Shepard, RT Smith, Virgil Suarez, Melanie Rae Thon, Natasha Trethewey, Philip Levine, Anthony Varallo, Robert Wrigley, and Dean Young, among many others.

Academy of American Poets University Prize

The Creative Writing Program is proud to partner with the Academy of American Poets to offer an annual Academy of American Poets University Prize to a student at the University of Idaho. The prize results in a small honorarium through the Academy as well as publication of the winning poem on the Academy website. The Prize was established in 2009 with a generous grant from Karen Trujillo and Don Burnett. Many of our nation’s most esteemed and celebrated poets won their first recognition through an Academy of American Poets Prize, including Diane Ackerman, Toi Derricotte, Mark Doty, Tess Gallagher, Louise Glück, Jorie Graham, Kimiko Hahn, Joy Harjo, Robert Hass, Li-Young Lee, Gregory Orr, Sylvia Plath, Mark Strand, and Charles Wright.

Fellowships

Centrum fellowships.

Those selected as Centrum Fellows attend the summer Port Townsend Writers’ Conference free of charge. Housed in Fort Worden (which is also home to Copper Canyon Press), Centrum is a nonprofit dedicated to fostering several artistic programs throughout the year. With a focus on rigorous attention to craft, the Writers’ Conference offers five full days of morning intensives, afternoon workshops, and craft lectures to eighty participants from across the nation. The cost of the conference, which includes tuition, lodging, and meals, is covered by the scholarship. These annual scholarship are open to all MFA candidates in all genres.

Hemingway Fellowships

This fellowship offers an MFA Fiction student full course releases in their final year. The selection of the Hemingway Fellow is based solely on the quality of an applicant’s writing. Each year, applicants have their work judged blind by a noted author who remains anonymous until the selection process has been completed. Through the process of blind selection, the Hemingway Fellowship Fund fulfills its mission of giving the Fellow the time they need to complete a substantial draft of a manuscript.

Writing in the Wild

This annual fellowship gives two MFA students the opportunity to work in Idaho’s iconic wilderness areas. The fellowship fully supports one week at either the McCall Outdoor Science School (MOSS), which borders Payette Lake and Ponderosa State Park, or the Taylor Wilderness Research Station, which lies in the heart of the Frank Church River of No Return Wilderness Area. Both campuses offer year-round housing. These writing retreats allow students to concentrate solely on their writing. Because both locations often house researchers, writers will also have the opportunity to interface with foresters, geologists, biologists, and interdisciplinary scholars.

Program History

Idaho admitted its first class of seven MFA students in 1994 with a faculty of four: Mary Clearman Blew, Tina Foriyes, Ron McFarland (founder of Fugue), and Lance Olsen. From the beginning, the program was conceived as a three-year sequence of workshops and techniques classes. Along with offering concentrations in writing fiction and poetry, Idaho was one of the first in the nation to offer a full concentration in creative nonfiction. Also from its inception, Idaho not only allowed but encouraged its students to enroll in workshops outside their primary genres. Idaho has become one of the nation’s most respected three-year MFA programs, attracting both field-leading faculty and students. In addition to the founders of this program, notable distinguished faculty have included Kim Barnes, Robert Wrigley, Daniel Orozco, Joy Passanante, Tobias Wray, Brian Blanchfield, and Scott Slovic, whose collective vision, rigor, grit, and care have paved the way for future generations committed to the art of writing.

The Palouse

Situated in the foothills of Moscow Mountain amid the rolling terrain of the Palouse (the ancient silt beds unique to the region), our location in the vibrant community of Moscow, Idaho, boasts a lively and artistic local culture. Complete with independent bookstores, coffee shops, art galleries, restaurants and breweries, (not to mention a historic art house cinema, organic foods co-op, and renowned seasonal farmer’s market), Moscow is a friendly and affordable place to live. Outside of town, we’re lucky to have many opportunities for hiking, skiing, rafting, biking, camping, and general exploring—from nearby Idler’s Rest and Kamiak Butte to renowned destinations like Glacier National Park, the Snake River, the Frank Church River of No Return Wilderness Area, and Nelson, BC. As for more urban getaways, Spokane, Washington, is only a ninety-minute drive, and our regional airline, Alaska, makes daily flights to and from Seattle that run just under an hour.

For upcoming events and program news, please visit our calendar .

For more information about the MFA program, please contact us at:  [email protected]

Department of English University of Idaho 875 Perimeter Drive MS 1102 Moscow, ID 83844-1102 208-885-6156

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June 13, 2024

Caution: GenAI will Deliver Bad Creative Faster

Explore how GenAI is set to replace creative writing and revolutionize the industry. Dive into the power of AI and its impact on process, inputs, and outcomes.

by Ken Roberts

Chief Innovation Officer at Forethought

Generative artificial intelligence (GenAI) provides a monumental opportunity to dramatically improve the efficiency of the process of developing advertising.  This has major implications for the time-based charging creative agencies presently enjoy.

The question here is, will GenAI also improve advertising effectiveness?

The conclusions Forethought has come to are:

Generative Artificial Intelligence (GenAI) promises to revolutionize advertising efficiency.

Properly leveraged GenAI, grounded in marketing science, can and does, outperform traditional methods in both efficiency and effectiveness.

Doomed from the Outset

In most instances, the primary objective of advertising is to stimulate brand preference and/or brand choice.  For that job to be done, the underpinning of the marketing communication should centre on the rational and emotional category drivers of choice.  You might say that statement is blindingly obvious and yet, advertising based on a proposition built on the scientifically identified rational and emotional drivers of choice is perhaps, far less common than you might imagine.  I would say scarce.

In advertising today, what is communicated and where it is placed should largely be a product of marketing science.  How that marketing message is expressed should be a matter of creativity.  Trouble is, in my experience; most marketers and creative agencies have a deeply ingrained belief that what is communicated and how it is said should both be product of creativity.  And therein lies why most advertising is doomed from the outset.

What is communicated often bears no relationship with category drivers of choice but instead is the product of creative imagination which, incidentally, is sometimes right but more often, just yet another excursion into the marketing communications abyss.

As I have previously written , ‘It is common to hear marketers talk about being famous and distinctive but omitting the essential element of that intention; famous and distinctive for what?  And worse still, abrogating the answer to that most fundamental question of marketing success, to the creative agency. 1 ’

So long as this malpractice is embedded into GenAI produced creative, GenAI will not improve advertising effectiveness.  All it will do is deliver poor advertising faster.  Success comes to those whose brand is distinctive for a rational and emotional category driver.

The naivety extends to advertising testing.  Rather than pretesting the advertising for its ability to activate drivers of preference and choice, instead, the main proponents of ad testing apply a cocktail of made-up measures such as likeability objectively shown to have little to no relationship with preference or choice drivers.

On the other hand, if your GenAI Content Store™ (think prompt engineering and retrieval-augmented generation) includes the input that scientifically can be shown to drive and predict buyer behaviour, then GenAI will routinely outperform traditional creative on both efficiency and effectiveness.  BrandComms.AI is a Gen.AI service that draws on a “content store” of a multitude of scientifically determined marketing inputs but most importantly, category drivers, to produce creative ideas that have as their foundation, the scientifically inferred chosen drivers of choice.

Differentiation of Anything

It does beg the question, how did imagination become such a mainstay of marketing communication?  In a bygone era when there was a dearth of applied marketing science, Theodore Levitt penned ‘Marketing Success Through Differentiation—of Anything. 2 ’  It was the “Anything” that became the seed of 45 years of the application of vivid imagination over marketing science.  According to Levitt, ‘Only the budget and the imagination limit the possibilities’ of differentiation.  Astoundingly, this application of imagination over science continues today.  It is the absence of any application of science in screening the “differentiation” candidates that severely dates the article, the thinking, and moreover, the practice of creative agencies pursuing differentiation rather than purposely driving brand preference and/or brand choice.

The goal should not be differentiation but rather, competitively distinctive on the chosen category driver/s.

GenAI is bulldozing its way into creativity.  Indeed, studies have predicted that creative writing will be entirely replaced by GenAI.  American futurologist Roy Amara, notably stated that ‘We tend to overestimate the effect of a technology in the short run and underestimate the effect in the long run. 3 ’ There is no overestimating the effect of GenAI on the advertising industry.  You do not need to be a prophet to foresee the structural change that will be led by GenAI.  Indeed, those changes are upon us. 

Repeating a past conclusion, ‘My advice is to immerse yourself in Gen AI.  This is not like the rise and rise of social media that was left to the new kids and the interns.   Gen AI is transformative to processes, inputs, and outcomes. 4 ’

Sources 

• https://www.greenbook.org/insights/customer-acquisition-retention/famous-and-distinctive-for-what
• https://hbr.org/1980/01/marketing-success-through-differentiation-of-anything
• Susan Ratcliffe, ed. (2016).  "Roy Amara 1925–2007, American futurologist" . Oxford Essential Quotations. Vol. 1 (4th ed.). Oxford University Press.  doi : 10.1093/acref/9780191826719.001.0001
• https://www.greenbook.org/insights/customer-acquisition-retention/the-gen-ai-drizzle-becomes-torrential

Ken Roberts

50 articles

The views, opinions, data, and methodologies expressed above are those of the contributor(s) and do not necessarily reflect or represent the official policies, positions, or beliefs of Greenbook.

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• June 12th, 2024

Creativity Crisis: Why Is AI Bad for Original Thinking in Writing?

AI has influenced all industries, and the creative realm is no exception, including writing. While AI tools promise efficiency and a break from the drudgery of repetitive tasks, they also bring up a big question: Are we sacrificing creativity for convenience? 

It's essential to explore how AI tools might reshape the writing craft, and not always for the better. There's something special about a piece crafted by a human essay writer that AI can't replicate. For students seeking help with their essays, a human writer's personal touch, nuanced understanding, and creative flair are irreplaceable. AI might be able to generate a complete essay on a given topic rapidly, but can it engage a reader's emotions or offer original ideas as effectively? Let's dive into the heart of this discussion.

AI and Writing: The Impact on Creativity 

You've probably noticed how some content nowadays feels a bit... off. That's because they're crafted by AI, which only repeats what's already out there. The reliability of information is another concern. A 2023 study revealed that heavy reliance on AI for writing tasks reduces the accuracy of the results by 25.1%. How does AI write? AI tools analyze huge chunks of existing texts to produce content. While this can make writing faster, it also means the content can end up looking and sounding the same. Where's the fun in reading something that feels like deja vu?

When writers lean too much on AI, they risk dulling their ability to think originally and expressively. For students, this is particularly risky. This is why AI is bad for education. Schools are supposed to be playgrounds for the mind, places where you can experiment with ideas and find your voice. If AI does too much of the work, students might miss out on developing these crucial skills. 

Challenges to Original Thinking

AI tools are gaining popularity fast. In early 2023, ChatGPT set a record by reaching over 100 million monthly users in just two months after launch. While it has some undeniable advantages, this surge in the popularity of AI tools has caused certain challenges as well. 

Dilution of Personal Expression

AI is all about algorithms, which means it loves patterns. But great writing isn’t just about sticking to patterns—it’s about breaking them sometimes. AI’s tendency to standardize could mean your next essay sounds like everyone else's. Remember, the most memorable pieces of writing are those that reflect a unique perspective, something that AI just can't mimic.

Homogenization of Writing Styles

And it’s not just your voice that’s at risk. As more people use AI tools, there’s a tendency for all writing to start sounding similar. Think about it: if everyone uses the same tool, doesn’t it make sense that everyone’s output might start to look the same? This doesn’t just stifle individuality; it could flatten the entire landscape of literary styles, turning vibrant variety into boring uniformity.

Reduction in Critical Thinking

Here's a not-so-fun fact: when AI takes over the brainy bits of writing, you might disengage from the process. How does AI affect writers? It's easy to become passive, watching as the AI assembles your thoughts. This is especially bad news for students, who need to flex their mental muscles by tackling complex writing tasks. Critical thinking is like a muscle—if you don't use it, you lose it.

Broader Implications

When AI scripts the show, the range of voices in literature might begin to narrow. Diversity in writing isn't just about different themes or genres; it’s about different ways of seeing the world. If AI keeps us locked into a certain way of writing, we might start missing out on those fresh, exciting perspectives that come from real human experiences.

Looking ahead, the impact of AI on professional writing careers looks equally concerning. How is AI affecting education? Will future writers need to conform to AI standards to succeed? If so, we might see a drop in the quality and variety of professional writing as the push for AI efficiency overtakes the need for human creativity and insight.

AI in Education and How It Affects Academic Writing 

Let's take a look at a real example. In some classrooms, AI is bad for education because students use AI to polish their essays. At first glance, these essays look perfect. However, over time, teachers notice something troubling—the students' work begins to lack depth and originality. They're not learning to craft arguments or express unique ideas. Instead, they're just learning to edit what AI produces. It's a bit like painting by numbers: the end result might look good, but the process isn't creative.

For learners, the stakes are high. Why is AI bad for students? Learning to write creatively is not just an academic exercise—it’s a way to learn how to think, argue, and persuade. If AI starts doing too much of this work, students could end up with a cookie-cutter education that fails to inspire or challenge them. What’s the point of learning to write if you’re not learning to think?

Alternative Approaches and Solutions

To keep AI in its rightful place as a tool rather than a replacement, writers need to focus on developing their own skills alongside the technology. Use AI to handle the repetitive parts of writing, like checking grammar, but make sure the ideas and the voice are unmistakably yours.

Schools and colleges have a crucial role to play in combating the negative effects of AI in education. They should encourage curricula that value creativity and individuality over the ability to use tools. Besides, online essay writer services can also help, offering students nuanced writing support. It’s about teaching students how to use technology wisely, enhancing their skills without overshadowing them.

Lastly, never underestimate the importance of the human touch. Writers need to stay in the driver's seat, using AI as a navigator rather than letting it take the wheel. This means always being ready to question, modify, and ultimately oversee the content that AI helps produce, ensuring that each piece of writing reflects true human thought and creativity.

As we look toward the future, it's clear that AI will change many aspects of our lives, but here's the good news: AI will not replace writers. The essence of writing—conveying emotion, capturing the human experience, and sparking imagination—is inherently human. No matter how advanced AI gets, the depth, emotion, and personal touch you bring to your writing are yours alone. So use AI, but make every piece you write your own.

Featured Image by Parker Byrd on Unsplash

Nicole Hardy

Tags: ai artificial intelligence creativity originality writing

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