Choosing the right set of words–the diction of your novel–is crucial, especially in the opening pages of your novel. Novels are a context for making choices, and within that context, some words make sense and some don’t.
A novel sets up a certain setting, time period, tone, mood and sensibilities and you must not violate this. If you are writing a gothic romance, the language must reflect this. For thrillers, the fast paced action demands a certain vocabulary. Violating these restrictions means a bump in the reader’s experience that may make them put down the book.
Let’s look at some examples. This is from my book, SAUCY AND BUBBA: A HANSEL AND GRETEL TALE.
Just from the title you know that this is a contemporary retelling of Hansel and Gretel and this sets up expectations for the language that will be used. This is a first look at Krissy, the stepmother.
Krissy was singing to herself. Gingerbread days were filled with music, too. Once a month, Krissy made a gingerbread house and took it into town to sell to the bakery for $200. The bakery displayed it in their picture window for a month, and then donated it to a day care. Each month, Krissy checked out a stack of architecture books and pored over them.
Let’s substitute a couple words and see if it bothers you as a reader:
Krissy was caterwauling to herself. Gingerbread days were crammed with music, too. Once a month, Krissy slapped together a gingerbread house and took it into town to peddle to the bakery for $200. The bakery displayed it in their picture window for a month, and then dumped it off at a day care. Each month, Krissy checked out a stack of architecture books and flipped through them.
I’ve been extreme here in word choice, of course. The key is to listen to your story. Where are the places where a single word might interrupt the narrative? Work hard to control your word choices and the overall diction of your story. And I’ll stay with you for the whole book.