Chapter 3 What to write “fiction” about? Memoirs are like a test of the pen. composition of the text: from idea to plot Every writer choose an object corresponding to the strength, look at it for a long time, try, like a burden, whether your shoulders will raise. If someone chooses an object on his own, neither order nor clarity

Artistic canvas Agate One of the most beautiful semi-precious stones, according to the unanimous opinion of mineralogists and simply lovers of mineralogy, is agate. So what if the structure and chemical formula Agatha does not allow him to join the ranks of the most chosen ones. This stone

Fiction and non-fiction are the two main types of literature. A work of fiction is a story created through the imagination of the author, it is not based on real events and does not involve real people, although it may refer to real events and people. Fictional works are not based on truth, but they contain many elements of it. Artistic, unconditionally, the most popular look literature, you will find it in any genre. If you want to write your own fiction story, all you need is a little time and creativity.

Steps

Writing a work of fiction

Decide what format you want to write your piece in. Although in this case there is no such thing as an absolute format, it is better if you create in the form of poetry or short stories, this will somewhat help structure your work.

Come up with an idea. All books start with a small idea, dream or inspiration, which gradually turns into a larger and more detailed version of that same idea. If you lack imagination for good ideas, try it:

• Write on paper different words: “curtain”, “cat”, “investigator”, etc. Ask each of them questions. Where is it? What it is? When is that? So write a paragraph about each word. Why is it where it is? When and how did it get there? What does it look like?
• Come up with heroes. How old are they? When and where were they born? Do they live in this world? What is the name of the city they are in now? What is their name, age, gender, height, weight, hair color, eye color, ethnic origin?
• Try drawing a map. Place a blot and make an island out of it or draw lines that will represent rivers.
• If you don't already journal, start now. Journals are a great source of good ideas.

1. Feed your idea. It should get bigger. Make notes of what you would like to see in your story. Go to the library and get information on interesting topics. Take a walk and look at nature. Let your idea mix with others. It's a bit of an incubation period.

   Come up with a main plot and location. When does everything happen? In the present? In future? In the past? In several times at once? What time of year? Is it cold, hot or moderate outside? Does it take place in our world? In another world? In an alternate universe? What country? City? Region? Who is there? What role do they play? Are they good or bad? Why is all this happening? Did something happen in the past that could affect what happens in the future?

   Write an outline of your story. Using Roman numerals, write a few sentences or paragraphs about what will happen in the chapter. Not all writers do essays, but you should try it at least once to see what suits you.

   Start writing. To write your first draft, try using pen and paper instead of the computer. If you're using a computer and something doesn't add up in your story, you sit there for a whole lot of time typing and retyping, trying to figure out what's wrong. When you write with pen on paper, it’s just on paper. If you get stuck, you can skip and move on, then just continue writing where you like. Use your essay when you forget what you wanted to write next. Continue until you complete it.

   Take a break. Once you've done your first draft, forget about it for a week. Go to the cinema, read a book, ride a horse, swim, walk with friends, play sports! When you take a break, you become more inspired. It's important to take your time, otherwise you'll end up with a messy story. The more time you have to rest, the better your story will be.

   Read it. That's right, you need to read your own creation. Just do it. As you read, take a red pen to make notes and corrections. In fact, take a lot of notes. Do you think there's a better word? Want to swap some sentences? Does the dialogue sound too awkward? Do you think it would be better to have a dog instead of a cat? Read your story out loud, this will help you find mistakes.

   Check it out. Review literally means to look at it again. Look at the story from different points of view. If the story is told in the first person, put it in the third. See which one you like best. Try something new, add new ones storylines, add other heroes or give them already existing character new feature etc. At this stage it is better to use a computer and type it all out. Cut out sections you don't like, add ones that might improve your story, rearrange them, and correct spelling, grammar, and punctuation. Make your story powerful.

   • Don't be afraid to cut words, paragraphs, or even entire sections from your story. Many authors add extra words or episodes to their stories. Cut, cut, cut. This is the key to success.

2. Edit. Go through each line, looking for typos, spelling and grammatical errors, and the odd inappropriate word. You can look for specific errors separately, for example, only spelling and then punctuation, or try to correct them all at once.

   • When you edit your own work, it can often happen that you read what you thought you wrote, and not what you actually wrote. Find someone to do it for you. The first editor will find more errors than you. It's good if it's your friend who is also interested in writing stories. Try writing your stories together and share useful secrets. Maybe even read each other's work to find mistakes and make suggestions.

3. Format your manuscript. On the first page in the upper left corner you need to write your name, phone number, home and email address. In the right corner, write the number of words, rounded to the nearest ten. Press Enter several times and write a name. The title should be centered and highlighted in some way, such as bold or capital letters. Press Enter a few more times and start typing your story. The body of the text should be in Times New Roman or Courier font (not Arial). Font size must be 12 or larger. It's easier to read this way. Double spacing. Be sure to double space. Editors make notes between the lines. Make the borders about 4 cm, this is also for notes. Don't change the right border. It will only ruin everything by doing everything OUT like this. Sections should be delimited by three asterisks (***). Start each new chapter on a new page. In case any pages of your manuscript get lost, all pages except the first should contain the abbreviated title of the story, your last name, and the page number. Finally, print your work on high quality thick A4 paper.

   Print out several copies of the manuscript and give them to family friends for them to read and make notes on. If you like these comments, you can use them in your story.

4. Submit your manuscript to an editor or publisher and cross your fingers.

   • Try not to reveal all your cards from the very beginning. Give subtle hints, but don't give away the ending to the reader. You want him to want to read the book from beginning to end.
   • If you come up with an idea that doesn't quite fit into the story, don't be afraid to slightly change the events in the story leading up to your idea. Remember, stories are written to be exciting, to have unexpected twists, and most importantly, to express (or even surprise) the author.
   • If you can't think of an event, write about a real one that happened to you and add a few touches to it to further interest the reader.
   • Write down everything you want to remember so you can rely on your notes. It is much easier to remember what has been written down.
   • Have fun! Impossible to write good story, if the author himself does not like it. It should be a wonderful experience and everything should come from your heart.
   • Don't panic if you're having a writer's block! Use it to experience new sensations and spark new ideas. Use all of this to improve your story.
   • If your story is not accepted, try again until some editor agrees to help you. They are very busy reading thousands of other manuscripts. Don't take rejections personally.
   • Even if you think you don't know how to draw, illustrating the characters in advance will be a plus for you. Visualizing characters will help you understand what a character in a story would do or react.
   • Always print yourself a copy of the manuscript in case your story folder tragically gets lost.
   • Make a list of your favorite words and try to introduce them into the story. Naturally, only in those places where it is appropriate.

   Warnings

   • Criticism is key to the overall success of your work, but don't let critics suppress your own vision (this mostly applies to friends, not editors). You are the author and only you can decide how events develop in your book.
   • Don't let your story and hers acting persons take over you. Know your heroes, but don't let them control you. You are the author.
   • Don't use a pencil. When you write with a pencil, you want to erase what you don't like. Instead, use a pen to creative process proceeded smoothly. If you get stuck in one place, just skip and write further. Finish later during review.

   You will need

   • Many pens with multi-colored ink
   • Lots and lots of lined paper
   • Computer and printer (Laser is preferable, but inkjet will work too)
   • High-grade thick A4 paper (For the finished manuscript)
   • A private place where you will write
   • Good imagination
   • Confidence in yourself and your literary work

   Sources

   • Short Story Writing & Critique Group. A free online community of writers. Based on weekly prompts, we submit stories and critique them in an effort to improve our own (and each other's) writing. There is a Forum for discussion of various topics, and anyone is welcome to join.

As for the first point, which states that a work of art is a product of human activity, then from this view

a) it was concluded that this activity, as the conscious production of some external object, can be comprehended and demonstrated so that others can learn and imitate it. What one does, it seems, could be done by another, and if everyone were familiar with the rules of artistic activity, then everyone, if desired, could do this work and create works of art. This is how those theories containing rules and their calculations arose. practical use the instructions we talked about above.

By following such rules and instructions, one can create only something formally correct and mechanical. For only the mechanical is of such an external character that for its assimilation by our ideas and practical implementation, only meaningless volitional activity and dexterity are needed and nothing concrete is required, nothing that could not be taught general rules. This is most clearly revealed in cases where such prescriptions are not limited to purely external and mechanical phenomena, but extend to meaningful spiritual artistic activity. In this area, the rules give only vague general instructions, such as, for example, that the topic should be interesting, that in a work of art everyone should speak in a language appropriate to his class, age, gender, position. To serve their purpose, these prescriptions must be so definite that they can be carried out as they are formulated without recourse to independent spiritual activity. But such rules are abstract in their content and inappropriate in their claim to fill the artist’s consciousness, because artistic creativity is not a formal activity according to given rules. As a spiritual activity, it must draw from its own richness and bring before the spiritual gaze richer contents and more multifaceted individual creations than can be provided for by the rules. At best, these rules, since they contain something definite and practically useful, can find application in completely external aspects of artistic creativity.

b) As a result, this point of view was completely abandoned, but at the same time they went to the opposite extreme. Having ceased to consider a work of art as a product of activity common to all people, they began to see in it the creation of a uniquely gifted mind, which should allow only its special talent to act as a specific force of nature and refuse both following generally valid laws and the intervention of conscious reflection in its instinctive creativity . Moreover, they even believed that he should beware of such interference, so as not to spoil or distort his creations.

Based on this, they began to recognize works of art as a product of talent and genius and to emphasize those aspects that talent and genius possess by nature. In part, this was absolutely correct. For talent is a specific, and genius a universal ability, which a person cannot acquire only through self-conscious activity; We will have to talk about this in more detail later.

Here we must only pay attention to the false view contained in this view, that in artistic creativity any consciousness of one’s own activity is not only unnecessary, but even harmful. With this understanding, talent and genius turn out to be a certain state, and, moreover, a state of inspiration. They argued that such a state is caused in a genius by some object, and partly he can bring himself into this state at will, and they did not even forget to point out a bottle of champagne, which can serve a good purpose in this case.

In Germany this opinion arose and gained predominance during the so-called period of geniuses, which began with the first poetic works of Goethe; the influence exerted by Goethe was strengthened by the works of Schiller. In their first works, these poets discarded all the then fabricated rules, deliberately breaking them, and began to create as if there had been no poetry before them. Other poets who came after them surpassed them even further in this regard.

I do not want to consider here in more detail the confused views that prevailed then regarding the concepts of genius and inspiration and the prevailing idea in our time that inspiration alone can achieve everything. It is only important for us to establish that, although the talent and genius of the artist have in themselves an element of natural talent, the latter requires for its development a culture of thought, reflection on the method of its implementation, as well as exercise and acquisition of skills. For one of the main aspects of artistic creativity is external work, since in a work of art there is a purely technical side, reaching even to craftsmanship; most of it is in architecture and sculpture, less in painting and music, and least of all in poetry. No amount of inspiration will achieve this skill, but only reflection, diligence and exercise. And the artist needs such skill in order to master the external material and overcome its intractability.

The higher the artist stands, the more thoroughly he must depict in his works the depths of the soul and spirit, which are unknown to him directly, and he can comprehend them only by directing his mental gaze to the inner and outer world. And here only through study does the artist become aware of this content and acquire material for his plans.

True, some arts need awareness and knowledge of this content more than others. Music, for example, deals only with internal spiritual movements of an indefinite nature, as if with the sound of emotions that have not passed into thought, and it has little or no need for the presence of spiritual material. Therefore, musical talent for the most part manifests itself in early youth, when the head is still empty and the soul has experienced little; sometimes it can even reach significant heights before the artist has acquired any spiritual and life experience. For the same reason we often find considerable virtuosity in musical composition and performed alongside great poverty of spiritual content and character.

The situation is different in poetry. What is important in it is a meaningful, thought-rich image of a person, his deepest interests and driving forces. Therefore, the mind and feeling of a genius must themselves be enriched and deepened by spiritual experiences, experience and reflection before he is able to create a mature, rich in content and complete work. The first works of Goethe and Schiller are terribly immature and even, one might say, rude and barbaric. The fact that in most of these early poetic experiments thoroughly prosaic, partly cold and banal elements predominate, most of all refutes the usual opinion that inspiration is associated with youthful ardor and age. Only in adulthood did these two geniuses, who, one might say, were the first to give our people truly poetic works, only in adulthood did these national poets of ours give us profound and perfect in form works, generated by true inspiration. And in the same way, only the elder Homer was inspired and created his eternally immortal poems.

c) The third view, associated with the idea of ​​a work of art as a product of human activity, concerns the relationship of the work of art to external natural phenomena. Here ordinary consciousness easily came to the idea that the work human art stands below the product of nature. For a work of art does not have feeling in itself and is not a living being; considered as an external object, it is dead. And we usually place the living above the dead.

That a work of art does not have movement and life in itself - one cannot but agree with this. Living products of nature are both internally and externally purposefully arranged organisms, while works of art achieve the appearance of life only on their surface, and inside they are ordinary stone, wood, canvas or, as in poetry, a representation manifested in speech and letters .

But it is not this side of external existence that makes a work a product of art. It is a work of art only to the extent that it is generated by the human spirit and belongs to it, has received its baptism and depicts only what is in tune with the spirit. Human interests, the spiritual value that an event has, individual character, an act in its vicissitudes and outcome, are depicted and highlighted in a work of art cleaner and more transparent than is possible in everyday non-artistic reality. Thanks to this, a work of art stands above any product of nature that has not undergone this processing by the spirit. Thus, for example, thanks to the feeling and understanding in the atmosphere of which a landscape is created in painting, this work of the spirit occupies a higher position than a purely natural landscape. For everything spiritual is better than any product of nature, not to mention the fact that no creation of nature depicts divine ideals, as art does.

To everything that the spirit extracts from its depths and puts into works of art, it imparts a long duration even from the side of external existence. Individual living products of nature are transient, their external appearance is changeable, while a work of art is persistently preserved, although not the duration of its existence, but the clarity of the spiritual life imprinted in someone constitutes its true advantage over natural reality.

This higher position of the work of art is also contested on the basis of another representation of ordinary consciousness. They say: nature and its products are the creation of God, created by his goodness and wisdom; the product of art is only a work of man, made by human hands according to human understanding. This is a contrast between the products of nature as a result divine creativity human activity as something finite is based on the misunderstanding that God does not act in man and through man, but limits the range of his activity only to the realm of nature.

This false opinion must be rejected if we wish to achieve the true concept of art. Moreover, we must contrast it with the opposite view, according to which God is glorified more topics, what the spirit creates, than the products and creatures of nature. For the divine principle is not only present in man, but also acts in him in a different form, more corresponding to the essence of God, than in nature. God is spirit, and the medium through which the divine passes takes the form of a conscious, actively self-generating spirit only in man. In nature, this environment is the unconscious, sensory and external, which is far inferior in value to consciousness. In artistic creativity, God is just as active as in natural phenomena, but in works of art the divine, being generated by the spirit, acquired for its existence a form of manifestation corresponding to its nature, which is not its existence in the unconscious sensuality of nature.

d) In order to draw a deeper conclusion from the previous arguments, it is necessary to pose the following question. If a work of art, as a product of the spirit, is the creation of man, then what need prompts people to create works of art? On the one hand, artistic creativity can be considered as simple game chance, as something dictated by a whim, so that engaging in it appears as something of no special significance, for there are others and even the best means to realize the goals that art sets for itself, and man carries within himself more important and higher interests than art. But, on the other hand, art has as its source more sublime drives and needs, and at times it satisfies the highest and absolute needs, being associated with the most general problems of worldview and with the religious interests of entire eras and peoples. We cannot yet fully answer the question of what this not accidental, but absolute need for art consists of, since the question is more specific character than the answer we could give here. We must therefore be content with the following remarks.

The universal and absolute need from which art flows (from its formal side) lies in the fact that man is a thinking consciousness, that is, that he creates from himself and for himself what he is and what generally exists. Things that are products of nature exist only directly and once, but man as a spirit doubles himself: existing as an object of nature, he also exists for himself, he contemplates himself, imagines himself, thinks, and only through this active for-himself being he is spirit.

A person achieves this consciousness of himself in two ways: first, theoretically, since in his inner life he must become aware of himself, aware of everything that moves and worries in the human chest. And in general, he must contemplate himself, imagine himself, fix for himself what thought reveals as essence, and both in what he generates from himself and in what he perceives from the outside, cognize only himself. Secondly, a person achieves such consciousness of himself through practical activity. He has an inherent desire to generate himself in what is immediately given to him and exists for him as something external, and to recognize himself also in this given from the outside. He achieves this goal by changing external objects, imprinting his inner life in them and again finding in them his own definitions. Man does this in order to, as a free subject, deprive the external world of its intractable alienness and, in objective form, enjoy only the external reality of himself.

Already the child’s first instinct contains a practical change in external objects. The boy throws stones into the river and admires the diverging circles in the water, contemplating his own creation in this. This need passes through the most diverse phenomena, right up to that form of self-production in external things that we see in works of art. And man does this not only with external things, but also with himself, with his natural form, which he does not leave as he finds it, but deliberately changes it. This is the reason for all decorations and fashions, no matter how barbaric, tasteless, ugly or even harmful they may be, such as, for example, the legs of Chinese women or the custom of piercing ears and lips. Because only educated people changes in figure, way of holding oneself and other external manifestations have their source in high spiritual culture.

The universal need for art stems from man’s rational desire to spiritually understand the inner and outer world, presenting it as an object in which he recognizes his own “I”. He satisfies this need for spiritual freedom, on the one hand, by the fact that he internally realizes for himself what exists, and on the other hand, by the fact that he outwardly embodies this being-for-himself and, doubling himself, makes it visible and knowable for himself and for others that which exists within him. This is the free rationality of man, from which flows both art and all action and knowledge. Below we will see how the specific need for art lies in contrast to the need for political and moral action, religious ideas and scientific knowledge.

Art is such a sphere of human activity that is addressed to his emotional, aesthetic side of personality. Through auditory and visual images, through intense mental and spiritual work, a kind of communication occurs with the creator and those for whom it was created: the listener, reader, viewer.

Meaning of the term

A work of art is a concept associated primarily with literature. This term is understood not just as any coherent text, but as one that carries a certain aesthetic meaning. Exactly this nuance distinguishes such a work from, for example, a scientific treatise or a business document.

The work of art is distinguished by its imagery. It doesn’t matter whether it’s a multi-volume novel or just a quatrain. Imagery is understood as the saturation of the text with expressive and figurative language. At the lexical level, this is expressed in the author’s use of such tropes as epithets, metaphors, hyperboles, personification, etc. At the level of syntax, a work of art can be full of inversions, rhetorical figures, syntactic repetitions or junctions, etc.

It is characterized by a second, additional, deep meaning. The subtext can be guessed from a number of signs. This phenomenon is not typical for business and scientific texts, whose task is to provide any reliable information.

A work of art is associated with such concepts as theme and idea, the position of the author. The topic is what the text is about: what events are described in it, what era is covered, what subject is considered. Thus, the subject of depiction in landscape poetry is nature, its states, complex manifestations of life, reflection states of mind man through the states of nature. The idea of ​​a work of art is the thoughts, ideals, and views that are expressed in the work. Thus, the main idea of ​​Pushkin’s famous “I remember wonderful moment..." is a demonstration of the unity of love and creativity, an understanding of love as the main driving, reviving and inspiring principle. And the position or point of view of the author is the attitude of the poet, writer to those ideas, heroes that are depicted in his work. It may or may not be controversial coincide with the main line of criticism, but it is precisely this that is the main criterion in evaluating the text and identifying its ideological and semantic side.

A work of art is a unity of form and content. Each text is constructed according to its own laws and must meet them. Thus, the novel traditionally raises problems of a social nature, depicts the life of a class or social system, through which, as in a prism, the problems and spheres of life of society as a whole are reflected. The lyrical poem reflects the intense life of the soul and conveys emotional experiences. According to critics, in a real work of art nothing can be taken away or added: everything is in place, as it should be.

The aesthetic function is realized in literary text through the language of a work of art. In this regard, such texts can serve as textbooks, because provide examples of magnificent prose unsurpassed in beauty and charm. It is no coincidence that foreigners who want to learn the language of a foreign country as best as possible are advised to read, first of all, time-tested classics. For example, the prose of Turgenev and Bunin are wonderful examples of mastery of the entire wealth of the Russian word and the ability to convey its beauty.

Fiction is one of the types of art, along with music, painting, sculpture, etc. Fiction is a product creative activity writer or poet, and, like any art, it has aesthetic, cognitive and worldview (related to the author’s subjectivity) aspects. This unites literature with other arts. A distinctive feature is that the material carrier of the imagery of literary works is the word in its written embodiment. Moreover, the word always has figurative character, forms a certain image, which allows, according to V.B. Khalizeva, classify literature as a fine art.

The images formed by literary works are embodied in texts. Text, especially literary text, is a complex phenomenon characterized by various properties. Literary text is the most complex of all types of text; in fact, it is completely special kind text. The text of a work of fiction is not the same message as, for example, documentary text, since he does not describe real concrete facts, although he names phenomena and objects using the same linguistic means. According to Z.Ya. Turaeva, natural language is construction material for literary text. In general, the definition of an artistic text differs from the definition of a text in general by indicating its aesthetic and figurative-expressive aspects.

By definition I.Ya. Chernukhina, a literary text is “...an aesthetic means of mediated communication, the purpose of which is a figurative and expressive disclosure of the topic, presented in the unity of form and content and consisting of speech units that perform a communicative function.” According to the researcher, literary texts are characterized by absolute anthropocentrism; literary texts are anthropocentric not only in the form of expression, like any texts, but also in content, in their focus on revealing the image of a person.

I.V. Arnold notes that “a literary and artistic text is an internally connected, complete whole, possessing ideological and artistic unity.” Main specific sign of a literary text, what distinguishes it from other texts is the fulfillment of an aesthetic function. At the same time, the organizing center of the literary text, as indicated by L.G. Babenko and Yu.V. Kazarin, is its emotional and semantic dominant, which organizes the semantics, morphology, syntax and style of a literary text.

The main function of fiction is to help reveal the author’s intention through the use of linguistic and specific stylistic means.

One of the most bright features fiction is imagery. The image, which is created by various linguistic means, evokes in the reader a sensory perception of reality and, thereby, contributes to the creation of the desired effect and reaction to what is written. A literary text is characterized by a variety of forms and images. The creation of generalized images in works of art allows their authors not only to determine the state, actions, qualities of a particular character through comparing it with artistic symbol, but also makes it possible to characterize the hero, determine the attitude towards him not directly, but indirectly, for example, through artistic comparison.

The most common leading feature of the style artistic speech, closely related and interdependent with imagery, is the emotional coloring of statements. The advantage of this style is the selection of synonyms for the purpose emotional impact on the reader, the variety and abundance of epithets, various shapes emotional syntax. In fiction, these means receive their most complete and motivated expression.

The main category in the linguistic study of fiction, including prose, is the concept individual style writer. Academician V.V. Vinogradov formulates the concept of a writer’s individual style as follows: “a system of individual aesthetic use of means of artistic and verbal expression characteristic of a given period of development of fiction, as well as a system of aesthetic and creative selection, comprehension and arrangement of various speech elements.”

A literary text, like any other work of art, is aimed primarily at perception. Without providing the reader with literal information, a literary text evokes a complex set of experiences in a person, and thus it meets a certain internal need of the reader. A specific text corresponds to a specific psychological reaction, the order of reading corresponds to the specific dynamics of change and interaction of experiences. In an artistic text, behind the depicted pictures of real or fictional life, there is always a subtextual, interpretive functional plan, a secondary reality.

A literary text is based on the use of figurative and associative qualities of speech. The image in it is the ultimate goal of creativity, in contrast to a non-fiction text, where verbal imagery is not fundamentally necessary, and if available, it becomes only a means of transmitting information. In a literary text, the means of imagery are subordinated to the aesthetic ideal of the writer, since fiction is a type of art.

A work of art embodies the author’s individual way of perceiving the world. The author's ideas about the world, expressed in literary and artistic form, become a system of ideas directed to the reader. In this complex system Along with universal human knowledge, there are also unique, original, even paradoxical ideas of the author. The author conveys to the reader the idea of ​​his work by expressing his attitude to certain phenomena of the world, by expressing his assessment, and by creating a system of artistic images.

Imagery and emotionality are the main features that distinguish a literary text from a non-fiction one. Another characteristic feature of a literary text is personification. In the characters of works of art, everything is compressed into an image, into a type, although it can be shown quite specifically and individually. Many heroic characters in fiction are perceived as certain symbols (Hamlet, Macbeth, Don Quixote, Don Juan, Faust, D'Artagnan, etc.), behind their names there are certain character traits, behavior, and attitudes to life.

In fiction texts, a description of a person can be given both in the pictorial-descriptive register and in the informative-descriptive register. The author has complete freedom to choose and use various stylistic techniques and means that allow him to create a visual and figurative idea of ​​a person and express his assessment of his external and internal qualities.

When describing and characterizing the characters of a work of fiction, authors use various means emotional assessment both from the position of the author and from the position of other characters. The author's assessment of the heroes of his works can be expressed both explicitly and implicitly; it is usually conveyed through the use of a complex of speech and stylistic means: lexical units with evaluative semantics, epithets, and metaphorical nominations.

Stylistic means of expressing emotionality, author's assessment, the creation of images are various stylistic devices, including tropes, as well as various artistic details used in the texts of artistic prose.

Thus, according to the results of the study literary sources we can conclude that fiction is a special type of art, and a literary text is one of the most complex types of text in terms of structure and style.