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新时期先锋派作家们，打破了传统小说的语言模式，让他们的小说在读者面前呈现了一幅陌生的面孔：句子成分多重并列；语体变化；无句逗和随意句逗；小说写作近程的被述，等等。然而，正是这和陌生化，给读者一种全新的审美刺激，尽可能多的能指拓展了主体审美对象的可能世界，使其在接受近程的再创造之中荻得一科独特的审美效果。传统小说也只有在这种新的小说语言形式被读者逐渐认同之后，得以更新和发展，这便是新时期小说语言实验的积极效应。
The avant-garde writers in the new era broke the language model of traditional novels and presented their novels with an unfamiliar face in front of the readers: the multiple parallel composition of sentences; the change of style; the free sentences and free sentences; the novel writing Cheng is described, and so on. However, it is precisely this unfamiliarization that gives the reader a brand new aesthetic stimulus. As many as possible means that it expands the possible world of the subject’s aesthetic object so that it becomes unique in its acceptance of short-range re-creation Aesthetic effect The traditional novel can only be renewed and developed only after the new language form of the novel has been gradually accepted by readers. This is the positive effect of the language experiment in the novel period.