choice of words, especially with regard to correctness, clearness, or effectiveness. Any of the four generally accepted levels of diction—formal, informal, colloquial, or slang—may be correct in a particular context but incorrect in another or when mixed unintentionally. Most ideas have a number of alternate words that the writer can select to suit his purposes. “Children,” “kids,” “youngsters,” “youths,” and “brats,” for example, all have different evocative values.

The widest scope for literary style is offered at the level of word choice. Phrases such as “the little house,” “the diminutive house,” and “the petite house” have overlapping or synonymous meanings; but “little” may suggest endearment as well as size; “diminutive,” good construction; and “petite,” prettiness. Samuel Johnson, who believed that great thoughts were always general and that it was not the business of poets to “number the streaks of the tulips,” habitually used general, abstract, non-emotive words: “This quality of looking forward into futurity seems the unavoidable condition of a being whose motions are gradual, and whose life is progressive” (The Rambler (Rambler, The), 1750). Most modern writers, however, prefer particular, concrete, and emotive words and take advantage of the evocative values of technical, dialect, colloquial, or archaic terms when it suits their purpose. George Meredith used the archaic “damsel” to suggest the immaturity of a heroine; Ronald Firbank, in “Mrs. Henedge lived in a small house with killing stairs just off Chesham Place” (Vainglory, 1915), uses “killing” colloquially, in contrast to the standard words around it.