Writers often fall into the trap of thinking that using big, complex words will make their writing sound more sophisticated. Or the author may be highly intelligent, say a professor of political science or road scholar, and using big words comes naturally.
However, when it comes to middle grade (MG) and young adult (YA) stories, this approach can do more harm than good.
These books are meant to engage young readers, pull them into the story, and keep them turning pages. Using unnecessarily complicated vocabulary can create a barrier between the reader and the story, making it harder for them to connect with the characters, the world, and the themes.
Here’s why keeping language accessible is crucial for MG and YA fiction.
1. Clarity Matters More Than Complexity The primary goal of storytelling is to communicate with clarity. If readers have to pause to look up words, whether once or frequently, they lose immersion in the story.
Middle-grade books cater to readers between 8 and 12 years old, and while these readers are developing their vocabulary, they primarily engage with books that feel natural and easy to understand.
Examples: “A Single Shard” by Linda Sue Park and “Willa of Dark Hollow” by Robert Beatty.
YA books, aimed at readers 12 to 18, allow for more complex language, but the focus should still be on clarity rather than showing off an advanced vocabulary.
For example, instead of saying, He meandered through the sylvan glade, ruminating on his melancholic predicament, a clearer version would be, He wandered through the forest, thinking about his problems. The second sentence still conveys depth but does so without making the reader work too hard.
Another example is a YA I edited with words like curmudgeonly, bespoke, and miscreants. It also had words in Latin (Tempus breve), French (pied-à-terre), and Italian (linguine con lumachel), all within the first three chapters. I had to look up the Latin and French words.
It’s never a good idea to make the reader feel the book was written for someone more intelligent. It’s never a good idea to make the reader pause to look up a word or, just as bad, have to skip over it.
This genre includes "The Inheritance Games" by Jennifer Lynn Barnes and “An Audience for Einstein” by Mark Wakely.
2. Authenticity in Character Voice Middle-grade and YA fiction rely heavily on authentic character voices. Most young protagonists don’t speak like college professors, nor do they narrate their own lives with overly academic language.
Dialogue and internal thoughts should feel natural and reflect how kids and teens actually think and speak. Readers want characters who sound like them or their peers, not like a dictionary.
Consider a 13-year-old protagonist facing a tough decision. Which line sounds more like something they’d say?
-I am currently experiencing an internal conflict regarding my moral obligations. -I don’t know what to do. I should help, but what if I mess everything up?
The second example is more relatable and emotionally resonant. When language feels forced, it breaks the connection between the reader and the character.
3. Maintaining Pacing and Engagement Pacing is critical in MG and YA fiction. Young readers have shorter attention spans and are more likely to put a book down if it feels slow or difficult to get through.
Overly complex language can slow the pacing, forcing readers to work harder to decipher meaning instead of simply enjoying the story.
For instance, action scenes should be fast and immediate.
A phrase like: ‘He expeditiously maneuvered through the treacherous terrain’ is clunky compared to, ‘He raced over rocky ground, dodging roots and fallen tree limbs.’
The second sentence keeps the momentum going without unnecessary complexity.
4. Encouraging a Love of Reading Books should be an invitation, not a challenge. While it’s great to introduce young readers to new words, this should be done in a way that feels natural and doesn’t overwhelm them.
If a story is too difficult to follow, some readers might feel discouraged and disengage altogether. The best MG and YA books balance between expanding vocabulary and ensuring the language remains accessible and enjoyable.
5. Big Words Don’t Always Equal Big Impact Some writers believe that sophisticated vocabulary makes writing more impressive. But great writing isn’t about using the biggest words—it’s about using the right words. Simple language can be just as powerful if not more so, when used effectively. Emotional impact comes from clarity, strong storytelling, and deep character connections, not from complicated phrasing.
Take a moment to compare: -She experienced an insurmountable level of emotional distress. -She felt like the sadness might swallow her whole.
The second sentence is more visual, immediate, and emotionally engaging. That’s what young readers connect with.
Summing it Up
Middle-grade and young-adult stories should be written with the audience in mind. The goal is to create an immersive, emotional, and engaging experience, not to impress with vocabulary. Keep language clear, character voices authentic, and pacing smooth. When in doubt, read your work aloud—does it sound like something a kid or teen would say? If not, simplify it. The best stories are about making young readers fall in love with reading.
I’m a working children’s ghostwriter, rewriter, editor, and coach. I can help turn your story into a book you’ll be proud to be the author of, one that’s publishable and marketable.
