Last time, we talked about cutting clutter—stripping away the unnecessary words that bog down your prose. But once you’ve cleared the excess, what remains needs to carry its weight.
Readers might forgive a slow first chapter or even a shaky plot turn, but flat writing is difficult to overcome. Agents and editors can usually tell within a few pages whether a manuscript has that “something special”.
Using precise, strong words pull readers in, keep the pace moving, and make scenes come alive.
What this looks like can vary. A thriller needs verbs that hit hard and fast; a rom-com might lean on witty comparisons; a literary novel might savor lyrical or unexpected phrasing. The principle is the same—precision—but the execution depends on your genre and voice.
After decades of reading manuscripts, I’ve found solid word choice often makes the difference between good and great. I’ve seen writers use ten words to create a vague impression, while others use three words to paint an unforgetable picture.
There’s a quote attributed to Mark Twain: when you’re tempted to put “very” in front of a word, substitute “damn” instead… meaning don’t use it. Very doesn’t strengthen anything. Pick a stronger word.
The same principle applies to all word choices: instead of propping up weak words with modifiers, find words that can stand on their own
The Precision Mindset
Your narrative flow isn’t just about craft style, it’s your first competitive advance. In today’s market, you have about 250 words to hook an agent. Maybe 500 if you’re lucky. That’s not enough space to rely on plot twists or character development—standing out at the sentence level is a solid strategy.
Agents see the same tired phrases: characters who “smile warmly,” settings that are “old and creaky,” conflicts that are “life or death.” When your opening lines cut through that generic fog with unexpected choices, it helps set your manuscript apart.
The difference between word weight is intent—are you just trying to get information across or are you crafting an experience for the reader?
I’m not suggesting random upgrades of every verb. It’s about recognizing the time and place when word choice can make a significant difference. The moments that matter most in your scenes are where precise language make the biggest difference.
Be intentional. Make every word earn its place, especially if they can do multiple jobs at once—advancing action while revealing character, establishing setting while creating mood.
Creating An Image
Consider these two versions:
Instead of: The sun rises over a barren landscape.
Try: A merciless sun scorches the cracked earth.
Both sentences establish setting, but the second one has more imagery and texture.
Show, Don’t Describe
Many writers think creating atmosphere or setting requires exhaustive detail. But the right reference can do the heavy lifting for you.
Instead of: The office was run-down and depressing. The fluorescent lights flickered. The carpet was stained. The walls were a sickly green color reminiscent of old hospitals. Papers were scattered everywhere, and the whole place smelled musty.
Try: It was the kind of office where dreams went to die, only with worse lighting.
Unless there’s something specific in your description the reader needs to know, you can just provide a framework and let the reader fill in the details they relate to.
These creative choices help formulate the experience you want to create.
Specificity Without Overwriting
Similar to the above example, I often see long lists of generic details where one sharp, unexpected comparison could do the heavy lifting.
Instead of: The house was decrepit. The paint was peeling, the shutters were broken, and the porch sagged in the middle.
Try: The house looked staged for a low-budget horror movie—minus the camera crew.
Or
The house looked like an Eddie Munster starter home.
The after provides an instant mental picture. The comparison will also depend on the tone and voice you’re trying to convey.
Setting Location
Location description is where writers get tempted to explain everything. But you can ground the reader faster with one strong image than with five lines of inventory.
Instead of: The company headquarters had two buildings that were small and plain. The paint was faded, the windows dirty, and the parking lot was full of potholes. It looked nothing like the glamorous offices you’d expect for such a big company.
Try: The headquarters looked less like the home of a mega corporation and more like a DMV that had given up.
One comparison, and the reader’s already there.
Cultural Shorthand
Sometimes the perfect word is actually a reference most readers can imagine or relate to.
Instead of describing a creepy old house, try: “The house was a Tim Burton fever dream” or “It looked like the Addams Family’s summer cottage.”
When relating someone’s annoying optimism: “She had the relentless cheer of a game show host.”
Detailing a fancy restaurant: “The kind of place where the menu doesn’t have prices and the portions could fit in a shot glass.”
Less Description, More Impact
When words have impact, your prose moves from description to immersion—the difference between telling readers what happened and making them feel like they were there.
Your reader’s imagination is your greatest collaborator. Give them the right building blocks, and they’ll construct the world you’re envisioning.
You don’t need more words. You need the right words.