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Reimagining the Future of Storytelling in a World with AI

Taylor Rebhan
August 22, 2024 | 8 min read

By the time this article is published, it will already be out of date.

That’s simply how fast Large Language Models (LLMs) and Artificial Intelligence (AI) applications are improving.

In the last year alone, we’ve gone from AI as future-state to current-day. It’s already a click away, right in our pockets with apps like Chat GPT and assistants like Google Gemini. And it’s about to get even closer, embedded into our most common daily tasks like checking email and sending messages. Apple just announced that their latest operating systems across iPhones, iPads, and Macs will integrate OpenAI. Keep in mind that as of writing, there are about 1.46 billion active iPhone users in the world. That’s one in seven humans in the world, interacting every day with technology that was once the stuff of science fiction.

And while AI has capabilities that range from coding to image generation, the model that excites — and terrifies — writers is the LLM. Here’s how Google Gemini defines it:

A large language model (LLM) is a type of artificial intelligence (AI) program that can perform a variety of natural language processing (NLP) tasks. LLMs are trained on large amounts of data, often from the internet, and are built using machine learning and a type of neural network called a transformer model.
LLMs can recognize, summarize, translate, predict, and generate content, including text, blog articles, marketing materials, and software code. They are designed to understand and generate language like a human by learning context and meaning from sequential data.

“Generate language like a human”?

The thought sends a shiver up the spine of any aspiring novelist. But there’s no denying that it’s true. From poetry to nonfiction to reducing complex pieces of writing into bullet points, the more time goes by, the uncannier LLMs are in their abilities to imitate human intelligence. And that’s because they’ve been learning from us. These models are fed human writing. By now, most of us have unwittingly agreed to a Terms of Service that turns our personal data over to be churned and burned in AI training. Just look at the recent headache Adobe caused.

It won’t be long before we see the world’s first blockbuster novel, written entirely by an LLM.

What does this mean for art, and writers in particular? Is it all doom and gloom? Will we really be "replaced"?

And if a machine can generate a bestselling novel, is it even worth trying to write one at all?

The answer is, of course, more complicated than yes or no.

Every new technology brings struggle. But rather than fear change, writers can do something that a machine still can’t do, no matter how intelligent it is:

Imagine.

We already know these LLMs will change the world, whether we like it or not. With a little imagination, we can be part of that change, for the better.

Here are four ways writers can flourish in the age of AI.

Every new technology brings struggle. But rather than fear change, writers can do something that a machine still can’t do, no matter how intelligent it is: Imagine.

1. We’ll be more productive.

Blaise Pascal once said, “I would have written a shorter letter, but I did not have the time.” The fact of the matter is this: Writing well is time consuming. It involves inserting, deleting, shuffling, rearranging, and in many cases, starting over completely.

The creators of LLMs tout their abilities to streamline writing. They suggest edits, trim excess, and even predict our next words as we compose. Beyond editing, they can even compose for us. All of this can increase our speed and efficiency. But what do we stand to lose when we turn over some of our creative acts? Are we forfeiting our ability to think for ourselves when we turn over the grunt work?

Far from it. Let LLMs write that email. Let them take on busywork. With crafted prompts and a careful eye on the output, writers are the best poised of anyone to utilize LLMs to their greatest potential. And we’ll save plenty of time while we’re at it.

Let LLMs write that email. Let them take on busywork. 

Would we call a mathematician a cheater, fraud or less of a thinker for using a graphing calculator? Let’s imagine for a moment taking Algebra II without one. Sure, we can do so by hand — that’s how humans learned complex equations in the first place. An LLM is really a language calculator. Think of the time saved with a few swift buttons. Like an engineer designing a bridge, we can chart, map, course out a plan, test, and see if a thought is viable. We can create an outline, give a thought structure, and crumple up the metaphorical paper.

Long gone are the days of succumbing to the sunk cost fallacy. We can chase wild ideas and take care of daily writing tasks without worry. This revolution already happened for graphic artists. In the 1960s, a designer at an advertising agency had to create sketches and paintings by hand for pitches, throwing the whole thing out when the direction changed. Now, dozens of options can be honed and edited in a fraction of the time, without losing any of the creative mastery. Let’s imagine a future where LLMs do the same for writers.

Finally, let’s not forget where the personal meets the creative. As writers, we tend to think of AI in the LLM context. But as Apple has shown, AI as a product will be integrated into our lives in a multitude of practical, not creative, ways. Imagine if your household labor could be streamlined — getting a few more hours of writing in without having to do the dishes or fold the laundry. We may be closer to that future than we think.

2. We’ll take more risks.

AI is a commercial product. And to be viable, every commercial product needs to be reliable. Ultimately, it needs to not fail at the task it was assigned to—and it will go to great lengths to avoid failure. This is risk aversion, and it’s the enemy of great art.

It’s entirely possible we’re on the cusp of a world where a bestselling novel is written with or entirely by LLMs. Picture AI-generated titles popping up on towels at the beach every summer. We might pick them up at the airport or for a camping trip — and we honestly might enjoy them. There’s a time and place for an easygoing, risk-free summer read. Even if it was written by an LLM amalgamating every beach read available on the internet.

Here's the flip side. There will be a proliferation of authors willing to take incredible risks to break out. Because although we as humans might fear failure, we will never let it stop us. We are not created to be tuned, honed, packaged up and sold to the highest bidder. We answer to ourselves, and our own muses. Even at the risk of being wrong. Or failing.

And that makes for incredible art.

We’ll see risks taken in format, narrative, point of view and in characters. The more LLMs rely on commonality and the safest answers (even when prompted to take a risk!), the more we’ll see groundbreaking novels break through barriers we didn’t even know existed.

After all, intelligence and imagination are two different things.

3. We’ll hone our styles.

If you haven’t already used your favorite LLM to write a history lesson in the voice of Ru Paul, you should bookmark this page, head to Chat GPT, and give it a try. In the hands of a creative mind, “X in the style of Y” can lead to hilarious and even touching results. That’s partially because LLMs specialize in this type of clear imitation. They can scan through the words of a living person or famous author, pick up its style, and create a calculation that — odds are — sounds like that person.

In its tendency to avoid risk, LLMs err on the side of what’s most likely. Scanning through a database of creative fiction where I use “dark” to describe the future and you choose “gloomy,” AI will need to calculate which word it ought to use in a prompt about the state of the world. The “right” word will most likely be the word that’s most often used.

This prioritization of commonality is a flattening of style.

Into that world, we bring all the living, breathing texture of stylistic nuance.

Writers will expand our vocabularies and toolkits, honing our voices into unmistakably authentic weapons that cut through the static of common denominator language.

We’ll even ignore the suggestions LLMs will make — not because they’re wrong, but because they’re not us. Whether we write fiction, poetry, or articles, we’ll use our unique lived experiences to bring more life into what we write.

We can even use LLMs to hone our individual style. Tolkien wouldn’t be Tolkien without his fully fledged and functional in-universe languages. With AI at our disposal, we won’t need a knack for — or degree in — linguistics to be able to do the same. With a basic understanding, the right prompts, and this powerful tool at hand, we can create entire worlds in a fraction of the time it took the masters. And in doing so, we can turn our pens to honing our style … rather than getting caught in the grammatical differences between Elvish and English.

This prioritization of commonality is a flattening of style. Into that world, we bring all the living, breathing texture of stylistic nuance.

4. We’ll share the creative act — or, “Get personal.”

Picture this: You’re sitting in the dim auditorium of a theater, or the bay window of an independent bookstore. You clutch your treasured tome between your hands, nervously shifting from foot to foot. You’ve been waiting all night, and finally, it’s your time. You hand your book to the human across the table. They look you in the eyes, reach out, take it, and inscribe a message that will alter the course of your life.

Whether we’ve been to their book signings or were born long after our favorite writer left this world, we’ve all felt the transcendent pull between author and reader.

No matter how sophisticated, no matter how advanced, no matter how streamlined they become, a Large Language Model will never sign a book. Our humanity ties us to one another. From author to reader; from reader to author; from critics to editors to beyond. Whether an author has throngs of fans or a few friends and family who come to readings, we write to share. We don’t just produce.

In the end, all Artificial Intelligence works in isolation. Their experience is taken, not shared. They don’t collaborate, they regurgitate.

And it’s because of this that the future state of writing will be collaborative beyond our wildest dreams.

All we have to do is imagine it.

In the end, all Artificial Intelligence works in isolation. Their experience is taken, not shared. They don’t collaborate, they regurgitate. And it’s because of this that the future state of writing will be collaborative beyond our wildest dreams.

Editor's Note: Artificial intelligence may have already transformed writing, but that doesn't mean you shouldn't be in control of your own words. Read Astrohaus Founder Adam Leeb's statement on AI and privacy.

December 18, 2025 7 min read

What can Jane Austen's personal letters teach writers of today?

December 10, 2025 6 min read

Singer-songwriter Abner James finds his creativity in the quiet freedom of analog tools. Learn how his creative process transcends different media.

Abner James went to school for film directing. But the success of the band he and his brother formed together, Eighty Ninety, knocked him onto a different trajectory.

The band has accrued more than 40 million streams since the release of their debut EP “Elizabeth," and their work was even co-signed by Taylor Swift when the singer added Eighty Ninety to her playlist "Songs Taylor Loves.”

Now, Abner is returning to long-form writing in addition to songwriting, and with a change in media comes an examination of the creative process. We sat down to chat about what's the same — and what's different. 

ANNIE COSBY: Tell us about your songwriting process.

ABNER JAMES: The way I tend to write my songs is hunched over a guitar and just seeing what comes. Sounds become words become shapes. It's a very physical process that is really about turning my brain off.

And one of the things that occurred to me when I was traveling, actually, was that I would love to be able to do that but from a writing perspective. What would happen if I sat down and approached writing in the same way that I approached music? In a more intuitive and free-form kind of way? What would that dig up?

AC: That's basically the ethos of Freewrite.

AJ: Yes. We had just put out a record, and I was thinking about how to get into writing for the next one. It occurred to me that regardless of how I started, I always finished on a screen. And I wondered: what's the acoustic guitar version of writing?

Where there's not blue light hitting me in the face. Even if I'm using my Notes app, it's the same thing. It really gets me into a different mindset.

 "I wondered: what's the acoustic guitar version of writing?"

I grew up playing piano. That was my first instrument. And I found an old typewriter at a thrift store, and I love it. It actually reminded me a lot of playing piano, the kind of physical, the feeling of it. And it was really fun, but pretty impractical, especially because I travel a fair amount.

And so I wondered, is there such a thing as a digital typewriter? And I googled it, and I found Freewrite.

AC: What about Freewrite helps you write?

AJ:I think, pragmatically, just the E Ink screen is a huge deal, because it doesn't exhaust me in the same way. And the idea of having a tool specifically set aside for the process is appealing in an aesthetic way but also a mental-emotional way. When it comes out, it's kind of like ... It's like having an office you work out of. It's just for that.

"The way I tend to write my songs is hunched over a guitar and just seeing what comes. Sounds become words become shapes. It's a very physical process that is really about turning my brain off."

And all of the pragmatic limitations — like you're not getting texts on it, and you're not doing all that stuff on the internet — that's really helpful, too. But just having the mindset....

When I pick up a guitar, or I sit down at the piano, it very much puts me into that space. Having a tool just for words does the same thing. I find that to be really cool and inspiring.

"When I pick up a guitar, or I sit down at the piano, it very much puts me into that space. Having a tool just for words does the same thing."

AC: So mentally it gets you ready for writing.

AJ: Yeah, and also, when you write a Microsoft Word, it looks so finished that it's hard to keep going. If every time I strummed a chord, I was hearing it back, mixed and mastered and produced...?

It's hard to stay in that space when I'm seeing it fully written out and formatted in, like, Times New Roman, looking all seriously back at me.

AC: I get that. I have terrible instincts to edit stuff over and over again and never finish a story.

AJ:  Also, the way you just open it and it's ready to go. So you don't have the stages of the computer turning on, that kind of puts this pressure, this tension on.

It's working at the edges in all these different ways that on their own could feel a little bit like it's not really necessary. All these amorphous things where you could look at it and be like, well, I don't really need any of those. But they add up to a critical mass that actually is significant.

And sometimes, if I want to bring it on a plane, I've found it's replaced reading for me. Rather than pick up a book or bring a book on the plane, I bring Traveler and just kind of hang out in that space and see if anything comes up.

I've found that it's kind of like writing songs on a different instrument, you get different styles of music that you wouldn't have otherwise. I've found that writing from words towards music, I get different kinds of songs than I have in the past, which has been interesting.

In that way, like sitting at a piano, you just write differently than you do on a guitar, or even a bass, because of the things those instruments tend to encourage or that they can do.

It feels almost like a little synthesizer, a different kind of instrument that has unlocked a different kind of approach for me.

"I've found that it's kind of like writing songs on a different instrument, you get different styles of music that you wouldn't have otherwise... [Traveler] feels almost like a little synthesizer, a different kind of instrument that has unlocked a different kind of approach for me."

AC: As someone who doesn't know the first thing about writing music, that's fascinating. It's all magic to me.

AJ: Yeah.

AC: What else are you interested in writing?

AJ: I went to school for film directing. That was kind of what I thought I was going to do. And then my brother and I started the band and that kind of happened first and knocked me onto a different track for a little while after college.

Growing up, though, writing was my way into everything. In directing, I wanted to be in control of the thing that I wrote. And in music, it was the same — the songwriting really feels like it came from that same place. And then the idea of writing longer form, like fiction, almost feels just like the next step from song to EP to album to novel.

For whatever reason, that started feeling like a challenge that would be deeply related to the kinds of work that we do in the studio.

AC: Do you have any advice for aspiring songwriters?

AJ: This sounds like a cliche, but it's totally true: whatever success that I've had as a songwriter — judge that for yourself — but whatever success I have had, has been directly proportional to just writing the song that I wanted to hear.

What I mean by that is, even if you're being coldly, cynically, late-stage capitalist about it, it's by far the most success I've had. The good news is that you don't have to choose. And in fact, when you start making those little compromises, or even begin to inch in that direction, it just doesn't work. So you can forget about it.

Just make music you want to hear. And that will be the music that resonates with most people.

I think there's a temptation to have an imaginary focus group in your head of like 500 people. But the problem is all those people are fake. They're not real. None of those people are actually real people. You're a focus group of one, you're one real person. There are more real people in that focus group than in the imaginary one.

And I just don't think that we're that different, in the end. So that would be my advice.

AC: That seems like generally great creative advice. Because fiction writers talk about that too, right? Do you write to market or do you write the book you want to read. Same thing. And that imaginary focus group has been debilitating for me. I have to silence that focus group before I can write.

AJ: Absolutely.

"I think there's a temptation to have an imaginary focus group in your head of like 500 people. But the problem is all those people are fake... You're a focus group of one, you're one real person. There are more real people in that focus group than in the imaginary one."

--

Learn more about Abner James, his brother, and their band, Eighty Ninety, on Instagram.

November 29, 2025 4 min read

The Great Freewrite Séance: A Ghost'ly Charity Auction Full Terms & Conditions

These Terms and Conditions (“Terms”) govern participation in The Great Freewrite Séance: A Ghost'ly Charity Auction (“Auction”), organized by Freewrite (“Organizer,” “we,” “us,” or “our”). By registering for, bidding in, or otherwise participating in the Auction, you (“Participant,” “Bidder,” or “Winner”) agree to be bound by these Terms.

1. Auction Overview

1.1. The Auction offers for sale a limited number of Freewrite Traveler Ghost Edition units (“Items” or “Ghost Traveler units”), each personally signed and drawn on by a featured author.

1.2. All proceeds, net of explicitly disclosed administrative costs, will be donated to the charity or charitable initiative (“Charity”) identified on each auction item’s page, as chosen by the respective author.

2. Eligibility

2.1. Participants must be at least 18 years old or the age of majority in their jurisdiction, whichever is higher.

2.2. Employees of Freewrite, the participating authors, or any affiliates directly involved in the Auction are not eligible to bid.

2.3. By participating, you represent that you are legally permitted to take part in online auctions and to pay for any bids you win.

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3.1. Participants must create an account on the auction platform or otherwise register using accurate, current, and complete information.

3.2. Freewrite reserves the right to verify identity and to disqualify any Participant who provides false or misleading information.

4. Bidding Rules

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4.2. Bidders are responsible for monitoring their bids; Freewrite is not liable for missed notifications or technical issues on the auction platform or the Participant’s device.

4.3. Freewrite reserves the right to:

  • set minimum bids or bid increments;
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5. Winning Bids and Payment

5.1. The highest valid bid at the close of the Auction is the Winning Bid, and the corresponding Participant becomes the Winner.

5.2. Winners will receive payment instructions and must complete payment within 48 hours of the auction’s close unless otherwise stated.

5.3. Failure to complete payment on time may result in forfeiture, and Freewrite may offer the Item to the next highest bidder.

5.4. Accepted payment methods will be listed on the Auction platform. All payments must be made in the currency specified.

6. Item Description and Condition

6.1. Each Ghost Traveler unit is authentic, and the signatures, doodles, and messages are original works created by the participating author. These are authors, not artists. By bidding on the Item, you acknowledge that you are receiving a one-of-a-kind unit marked with unique art and messages and you agree to these terms and conditions.

6.2. Because Items are customized and signed by hand, variations, imperfections, or unique marks are to be expected. These are considered part of the Item’s character and not defects.

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7.3. Title and risk of loss transfer to the Winner upon delivery to the carrier.

7.4. Freewrite is not responsible for delays, damage, or loss caused by the courier or customs agencies.

8. Charity Donation

8.1. Net proceeds from the Auction will be donated to the Charity designated on each Item page.

8.2. Donation amounts and recipients may be disclosed publicly unless prohibited by law.

8.3. Winners acknowledge that they are purchasing Items, not making a tax-deductible donation to Freewrite; therefore, Winners will not receive charitable tax receipts unless Freewrite explicitly states otherwise in compliance with applicable laws.

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9.1. All trademarks, brand names, product names, and creative materials associated with Freewrite and the Ghost Traveler remain the exclusive property of Freewrite or their respective rights holders.

9.2. Participants may not reproduce, distribute, or publicly display the authors’ doodles without permission where such rights are applicable, except as allowed by law (e.g., resale of the physical Item).

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10.2. Freewrite may publicly announce auction results, including Winner’s first name, last initial, city, state/country, and winning bid amount unless prohibited by law or unless you formally request anonymity when possible.

11. Prohibited Conduct

Participants may not:

  • engage in bid manipulation, fraud, or collusive bidding;
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  • interfere with the Auction, platform, or other participants

Freewrite may ban or disqualify any Participant violating these rules.

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To the fullest extent permitted by law:

12.1. Freewrite is not liable for indirect, incidental, special, or consequential damages arising from the Auction or purchase of Items.

12.2. Freewrite’s total liability in connection with these Terms shall not exceed the amount of the Winning Bid actually paid by the Participant.

12.3. Freewrite is not responsible for technical malfunctions, internet outages, system failures, or other issues beyond its control.

13. Cancellation and Force Majeure

Freewrite may cancel, postpone, or modify the Auction due to unforeseen circumstances, including but not limited to natural disasters, system failures, strikes, or events affecting participating authors or the Charity.

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14.1. These Terms are governed by the laws of Michigan, without regard to conflict-of-law rules.

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Freewrite may update these Terms at any time. Continued participation in the Auction after updates constitutes acceptance of the revised Terms.

16. Contact Information

For questions or concerns regarding the Auction or these Terms, contact: hello@getfreewrite.com.