Elmore Leonard apparently said you should never write about the weather. With pared-down crime writing you might think that makes good sense, and it can’t have done him any harm, but don’t underestimate the effects of the weather.
Maybe it’s just because I’m British, and the twists and turns of the weather are discussed at great length daily, not least by me. I think in any piece of writing the weather can play a part – though I’m not saying every piece of writing should dwell on it, or even mention it.
Think of a place you know well. I’ll take the street I live on, a street I walk down every weekday morning, and back up ten hours later. It has as many different moods as there are cloud configurations over the valley.
- A crisp October morning with breath faintly visible in the sunlight.
- A foggy November teatime, the streetlights doing nothing but tint small patches of fog orange.
- Blue-cast January, silent snowflakes settling slowly on covered paths.
- Muggy August, clouds gathering in late afternoon as the storm promises cool relief.
In each of those cases the street looks and feels different: open and light or closed in, safe or full of hidden dangers, familiar and comfortable or eerie and unsettling. That in turn affects my mood, so imagine what it can do for your characters.
For crime writing the weather has added benefits. Loud wind or rain can muffle thuds or shouts: either nothing is heard at all or witness reports are confused. Bad weather of any kind keeps people indoors, or walking with heads down, either way they’re not witnessing anything. Snow holds tracks (cars, feet, dragged bodies), rain makes mud which does the same. Heat shortens tempers and makes people lazy. And all that’s before you get to the ‘why was he only wearing a thin jumper when he claimed to have walked all the way across town? He’d freeze.’
Monet kept painting Rouen cathedral at different times of day in different weather. Those paintings are all of the same building but they’re by no means the same picture.