Estas são informações preciosas que C.J. Cherryh coletou para aspirantes a escritores de ficção. Completamente adaptáveis ao português.
If a manuscript looks as if it’s sprouted leaves and branches, if every verb is “unusual,” if the vocabulary is more interesting than the story … fix it by going to more ordinary verbs. There are vocabulary-addicts who will praise your prose for this but not many who can simultaneously admire your verbs as verbs and follow your story, especially if it has content. The car is not a main actor and not one you necessarily need to make into a character. If its action should be more ordinary and transparent, don’t use an odd expression. This is prose.
With apologies to hard-working English teachers, school English is not fiction English.
Understand that the meticulous English style you labored over in school, including the use of complete sentences and the structure of classic theme-sentence paragraphs, was directed toward the production of non-fiction reports, resumes, and other non-fiction applications.
The first thing you have to do to write fiction? Suspect all the English style you learned in school and violate rules at need. Many of those rules will turn out to apply; many won’t.
As a general rule, use a major or stand-out vocabulary word only once a paragraph, maybe twice a page, and if truly outre, only once per book. Parallels are clear and proper exceptions to this, and don’t vary your word choice to the point of silliness.