Writing texts is not an easy task. You probably already figured this out. Creating a text consists of a lot of steps, including collecting ideas, choosing the right tools for writing, and technical points like proofreading and editing. The whole process can quickly become confusing or even seem hopeless.

But there is a solution to this problem.

On the Internet you can find a lot of services that help with writing texts. From simple and affordable applications and websites for everyday routine tasks, to multifunctional programs used by professional writers.

We have prepared a list of 50 apps and websites that will be useful in:

• Writing texts
• Organization of the creative process
• Productivity improvements
• Checking and editing texts
• Exploring Topics
• Looking for inspiration

write better

Agree, it is impossible to write high-quality text without a good text editor. Microsoft Word (part of the Microsoft Office family of programs) offers the most comprehensive feature set for any writer - spell checker, imaging tools, templates, and more.

LibreOffice is the main competitor of Microsoft Office. This open source program has many similar features. But the main difference is that it's free! LibreOffice is useful as a free text editor, presentation tool, or when you just need to open a spreadsheet.

One of best apps for writing texts. Despite the smaller number of functions, the service attracts with a simple and convenient interface and excellent networking capabilities. You will have access to your documents wherever there is internet. Also, you can send texts to friends for viewing or editing.

Word Online is an alternative web-based program that lets you view, edit, format, and create documents that are compatible with Office applications. Like Google Docs, it has a minimal set of features that can satisfy the basic needs of most professionals, hobbyists, or students. The service allows you to share documents on the Internet and work on editing them for several people at the same time. But the most important thing is that this application is free.

If you are working on a scientific publication or writing a text with a lot of graphics, sooner or later you may feel that you are not succeeding in making the work understandable. LaTeX is a free application that takes care of appearance your work for you, allowing you to fully focus on the content of the text. The program is absolutely free.

A powerful text editor that combines the functionality of LaTeX with stunning simplicity. The straightforward interface of this program will allow you to create exquisite presentations without much effort.

Scrivener is best suited for large and lengthy projects as it combines a text editor and an information organization tool. If your project requires the use of many documents and templates, as well as the planning of each stage of work - Scrivener will help you to perform these and other tasks.

Instead of focusing on the practicality and simplicity of the material, ZenWriter offers a wide range of tools to make you feel comfortable while writing. The application allows you to customize the sounds and music that accompanies your workflow and create a background that will inspire or set you in the right way.

This great application is also aimed at improving the spiritual state of the writer in order to obtain successful results. The program has a simple interface that will not distract you from your work. In addition, OmmWriter provides a range of soothing sounds and visuals designed to inspire you and help you focus.

This program is an important item on our list for professional screenwriters. It helps to arrange the text so that it meets generally accepted standards. The program also gives hints and tips for the development of the plot.

This is one of the most popular programs used by authors. fiction and screenwriters. This includes formatting and organization features. In addition, the program allows you to track key characters and storylines, and gives tips on how to improve your writing style.

Organize the writing process

This content marketing service allows you to collect all the information you need for research in one place. Feedly guarantees the security of personal data, and also makes it possible to share selected content with colleagues.

If you've ever researched a topic before writing a paper, you know how easy it is to get lost in a lot of information. Evernote helps you avoid this. This is where you can store all the notes you take while exploring. All entries are indexed, easy to search, and viewable across devices.

Event Countdown, in fact, is a program for organizing time. It keeps track of the due dates of your tasks, so you can be sure that you are writing papers and completing all tasks on time.

The organization of the workflow is one of the most milestones on the way to successful writing. Todoist is a powerful task planner with a minimalistic design and extensive functionality. With it, you will always be sure that you have not forgotten about your business.

It's one of the most versatile writing tools on our list. Trello will help you get rid of outdated and irrelevant information by prioritizing writing texts.

Perhaps the most minimalist online application for creating and managing to-do lists without having to understand menus and settings. Perhaps it lacks some features that other programs have. However, Todokyo is a great choice if you prefer the ultimate in simplicity in organizing your work.

A small but functional application that allows you to visually divide your text into chapters and rearrange it if necessary.

This is a set of tools that will help organize and simplify your workflow. With their help, you can track and manage your schedule, as well as save your progress.

Improve your performance

An all-in-one application that can block websites that distract you from work, track time spent on leisure, keep track of programs that interfere with you, and help you create a work schedule.

A browser extension that allows you to control access to sites that distract you from work. The plugin can be configured to completely block the resource, restrict functionality, or deny access for a certain time.

Another browser add-on that will help organize your workflow. Thanks to fine-tuning, you will know that you are not wasting your working time, but are writing high-quality texts.

This little app enhances the readability of the texts you are learning from and makes them easier to understand. The program can remove irrelevant information, highlight important details, and generally give the text an easy-to-read look.

Typing is an important skill that we rarely find time to develop. Keybr.com monitors your typing and gives you step-by-step tips to improve. It will also allow you to compare your results with other users in order to compete for the championship. This will serve as an impetus to improve performance.

Ever wondered how you can improve your writing skills without dying of boredom? Habitica's game form help develop good habits and increase productivity through rewards and punishments. As a result, it can contribute to more confident achievement of goals.

The application is the implementation of a simple and effective way time management. The main goal is to measure 25 minutes of work and 5 minutes of rest with an increase in breaks every four cycles.

Some may have experienced this problem before: you are writing a text, you suddenly stop, and it is difficult for you to squeeze out at least one word from yourself. Unstuck will help overcome this barrier and tell you how to act in such situations.

Writing 750 words every day is a great way to develop your writing skills. You can even share your scores to add an element of competition.

In addition to the rewards that these writing apps offer, this program also has punishment options, from annoying sounds to deleting random words.

Edit your work

If you want to improve your grammar in English- this service is for you. It is available as a standalone application and text editor plugin. LanguageTool boasts impressive functionality for checking grammar and spelling. Plus, the service works in several languages. And best of all, it's completely free.

It is the main competitor of Webster's dictionary. In addition to a number of identical functions, there is also a wide selection of specialized dictionaries, the most notable of which are legal, medical and financial.

The relatively recently launched service has already gained popularity among users around the world. It does a great job of finding bugs. What's more, Grammarly will suggest ways to improve your writing and analyze the context to identify the inaccuracies that such applications miss.

A great tool for those who decide to join poetry and want to improve their skills in this area. Rhymezone gives you a list of rhymes for any word you enter, in addition to showing examples from literary works by well-known authors.

This program is mainly used by professional writers. Autocrit analyzes the text and advises what can be improved. It is most suitable for fiction, but it can also be customized to work with other types of texts, including academic works.

An online service that can find common writing errors such as repeated words and overly long sentences.

Do research

Google Scholar is the most well-known academic paper search tool, offering a wide range of research publications. He can also compile a bibliography for a work in the most common formats and show the reliability of sources by counting the number of references in each text.

Although not exactly a program for writers, it can still improve your scientific literacy. In essence, it is a newsletter service that will keep you up to date with the latest developments in the world of science.

This service provides a more straightforward approach to scientific research. Instead of using traditional algorithms, Scizzle will provide you with the latest news from your chosen field of science.

The best way to improve your writing and grammar skills is to show your work to others. MyScienceWork is a platform where you can post your own texts, view others', take part in discussions and raise your level of professionalism.

Lazy Scholar is a simple browser extension with impressive functionality. The service will improve your written work by providing information and statistics from authoritative resources. It can also create source lists for your texts.

Cite This for Me is a widely recognized tool for working with quotes on the Internet. The service supports a large number of citation styles and updates them regularly. In addition, it is possible to store data and manage lists of sources.

This is another powerful source citation app that can be used to write text. The program is suitable for those who experience technical difficulties with Cite This for Me as it is less demanding on system resources.

A simple citation tool. Useful if you work with books and not magazines.

This is a comprehensive and constantly updated resource for when the help of applications is not enough.

Look for inspiration

Due to its simplicity, The Story Starter has become one of the best free services for writers. He creates the first line of a piece in order to awaken your creativity.

This extensive database contains ideas and provocative questions designed to increase writing inspiration and stimulate the imagination.

This resource is used by all writers, regardless of their experience. This is a whole guide of practical advice and solutions to the writers' pressing problems.

A simple application that will bring creative ideas and help keep them in a simple and accessible form.

A small program for those whose mind is full of ideas. It will help to save fleeting thoughts that have the greatest potential for further development.

No more writing problems

The ability to write is very important in modern world. Whether you're doing research, writing an essay, or just emailing a friend, the quality of that text will determine your success. It is very easy to get confused among the many tips and lose control over your work. No wonder writers sometimes feel helpless in the face of the next task. Luckily, an abundance of different writing tools can help overcome all obstacles.

What follows from this? It has never been so easy to master the art of writing. You just need to find the right tools. And this list will help you.

Beginning Writer's Guide. useful links

Journalists and writers
"50 ways to write" Roy Peter Clark.
Rules for good writing. Fragment of methodology: Techniques of journalism and public relations About the script
"How to Write a Romantic Comedy Screenplay" Filonenko Vadim and Olga
"Cinema Between Hell and Heaven" Alexander Mitta: For those who want to write a script, direct a film and play a leading role in it.

About publishing houses, advertising, promotion
"Literature as business" Maria Streltsova
"Editor's Choice" Yuri Gavryuchenkov
"Apostles of the Tool" Sergey Lukyanenko How to get promoted on the Internet.
"About fees" Mikhail Klikin. duplicating to another resource.
"I wrote a story. What should I do?" Maxim Galtsov. I also advise you to look at the comments to the article.
"How to get published in a magazine" Mikhail Klikin Since the site does not always work, duplicating to another resource.
I made an imperishable - what's next?
Publishing agreement (general form)
"Ten Steps to a Publishing House or How They Do It..." Dennis E. Hensley
Ways to protect copyright Yuri Yurievich Sokolov

The work of the writer on the language is already manifested in the composition of the vocabulary that he has to use in the process of creating a work. The composition of these means is determined not only by the richness of the language of the nation to which the writer belongs, but also by the richness of his own speech. The success of his literary activity depends on how expressive and flexible the writer's vocabulary is. That's why a writer needs to work hard to expand his vocabulary. “Look,” Chekhov said to Kuprin, “you write wonderfully, but your vocabulary is small. You need to pick up words and phrases ... "Gorky advised the novice writer "to engage in ... enriching the lexicon, that is, the accumulation of words." He told another writer: "... . you have little language, that is, few words, and yet words are the material from which pictures, images, characters are created.

A wealth of vocabulary is given writer not right away. Particularly poor are the vocabulary of a novice writer, who in most cases still lacks sufficient language experience and is therefore overly attached to traditional vocabulary clichés. “Why do many translators always write about a person - thin, and not gaunt, not thin, not frail, not skinny? Why not cold, but cold? Not a shack, not a hut, but a hut? Not a trick, not a catch, but an intrigue? Many translators think that girls in translated books are only beautiful. Meanwhile, they are pretty, pretty, handsome, handsome, not bad-looking - and you never know what else!

These witty words of K. Chukovsky can be addressed not only to translators - they characterize even more the limited language resources of a novice writer. As Beranger rightly pointed out, "one must have a very rich vocabulary in order not to use ready-made and worn-out phrases every minute." It is this concern for the diversity of the vocabulary fund that determines the writer's attention to synonyms. Beranger, for example, tirelessly sought to create for himself a sufficient supply of words that are close to each other in meaning. And not only did Beranger take care of himself - it is typical, for example, that he handed over a special dictionary of synonyms to a working poet who did not yet have a sufficient supply of these lexical equivalents.

Vocabulary not given to the writer from the very beginning of his literary activity - his to be created, to win through hard and systematic work. The lexical fund is in a state of constant change: it multiplies as the writer finds his way in literature, for it is impossible for the artist of the word to succeed without mastering the necessary weapon of the word. On the other hand, the writer's emerging decline creative activity is immediately reflected in the dictionary, which is now acquiring features of traditionalism that were previously unusual for it, saturated with all sorts of worn out clichés.

Changes not only the total stock of lexical means, but also correlation between different spheres of this vocabulary. As a rule, the proportion of words taken by the writer from foreign languages, is gradually decreasing, while the number folk words increases accordingly. In the process of the writer's work on the word, his language is usually freed from archaisms and imbued with a number of elements that characterize the creative ingenuity and linguistic innovation of the word artists.

From these general remarks about vocabulary, let us turn to various areas work on it by the artist of the word. Let's start this review with words of foreign origin - barbarism, in such abundance included in literary language back in the 18th century. The writers of that time most often borrowed from German, English, and especially French words that were so lacking in undeveloped Russian literary speech. Far from everything that was borrowed by Russian writers from outside remained in the literary language. Part of the borrowed words did not take root at all, since it turned out to be alien to the spirit of the Russian language; others, corresponding to this spirit, quickly acclimatized and acquired all the rights of citizenship here. Finally, the third words entered the Russian literary language for a while, remaining in it until the writers found semantic equivalents to the borrowed words of foreign speech and freed themselves from its temporarily needed services in the future.

Note that the fight against barbarism does not apply to those cases where this element of foreign speech performs characteristic functions. So, for example, Gogol preserves the German speech in the language of the county physician Gibner, retaining the Germanisms characteristic of him in all editions of the Inspector General. Let us compare with this the French speech that spread widely through the pages of War and Peace and is so necessary for characterizing Tolstoy's high-society characters, who not only spoke, but also thought in French.

Writers have a completely different attitude towards professional elements of vocabulary. As the realistic method grows and strengthens, among its adherents. attention to these specific areas of the language is being strengthened. Let us recall, for example, the transmission of sailors' speech in Hugo's Toilers of the Sea, the reproduction in Les Misérables of the rich slang of French criminals; masterly recreated by Pomyalovsky original speech of the Bursaks. Not all writers were able to keep the measure in the transfer of professional language. In Toilers of the Sea, Hugo overloaded his narrative with the technical terminology of navigation, which he learned on the pier, talking with sailors or leafing through technical dictionaries in his office. Chekhov resorted to a dictionary of marine terms in the vaudeville "Wedding", but, unlike Hugo, he managed to motivate the abundance of professional phrases with the psychology of his character, retired second-rank captain Revunov-Karaulov. In our time, K. Paustovsky, for example, resorted to a similar transfer of the characteristic vocabulary of sailors, who, before writing the essays "Kara-Bugaz", carefully studied the peculiar language of the Caspian pilots.

As literature ceases to serve only the tops of feudal-serf society and its themes are democratized, “colloquial” - the words of individual local dialects, “dialects”, and at the same time the expressive and rude language of the social lower classes. The growth of provincialism, on the one hand, and vulgarism, on the other, is clearly seen when comparing, for example, the writings of Rabelais with the French romances of chivalry preceding them in time. Humorous English slang, dotted with the local Welsh dialect, we will meet in Shakespeare. A similar phenomenon takes place in Don Quixote, where, through the medium of democratic characters, especially Sancho Panza, a mass of dialecticisms are poured into the language of Cervantes' novel. Molière's plays are densely littered with provincial and dialect words, all sorts of slang elements, incorrect grammatical turns, etc. Let us compare this with the comic play on various provincial Italian dialects in Goldoni's plays.

The process of enriching the literary language with these elements proceeded with particular intensity in Russia, where the need for the democratization of the literary language was particularly urgent. Karamzin and his school stood on the positions of conservative purism. They were ready to admit the word "little bird", but they protested against the word "lad", saying that "there is nothing interesting for our soul."

The criterion for selecting words for the sentimentalist Karamzin is his "soul". Ten years later, he would state: "Some words have a special beauty for the sensitive heart, presenting to him ideas melancholic and tender." According to a fair characterization of Belinsky, Karamzin "despised the idioms of the Russian language, did not listen to the language of the common people and did not study native sources at all."

Already Pushkin dealt a deadly hit this language purism, introducing elements of various languages ​​​​- Caucasian highlanders, Moldavians, Ural Cossacks into their vocabulary. This Pushkinian undertaking is developed by Lermontov and especially by Gogol, followed by all the writers who came out of the bowels of the "natural school", and especially Nekrasov. Later, this course towards regional speech was strengthened by Korolenko, who in notebooks collected many provincialisms and dialectisms, in particular Siberian dialects, sometimes writing them down with phonetic accuracy (“trouble?, says the coachman”) and for the most part explaining the meaning of each recorded word.

The role of "local words" can be twofold. In some cases dialectisms help the writer to outline the main language "tone" of the future narrative and at the same time fix in memory characteristics what is happening. “These,” says Stendhal, “are local expressions; I save them in order to better remember the details that come to my memory in a crowd. In other cases, provincialisms have not so much a “memorial” function serving as memories, but rather a characteristic function, as an expressive linguistic ornament that imparts expressiveness to speech. However and in this respect writer It happens measure must be observed. Just as with regard to professionalisms, he is in danger here of becoming overly carried away by local "dialects" and overloading speech with them. Chekhov points out to Shcheglov: ".. . You spoiled all the music with provincialisms, with which the whole middle is strewn. Zucchini, open the door, talk and so on. - for all this, the Great Russian will not thank you. . . The language is lavishly corrupted." These tendencies towards the creation of predominantly dialectal speech in the 20-30s were manifested in such Soviet writers like Permitin, Zamoysky, Panferov and others.

It is curious that eighty years before Gorky the same Belinsky fought against the unjustified use of dialectisms. After several stories from the cycle “Notes of a Hunter” appeared in Sovremennik, Belinsky wrote to P. B. Annenkov: “Keep this cute baby from onomatopoeic poetry - Rrrkaliooon! Che-o-ek. So far, this is nothing, but I’m afraid that he doesn’t oversalt, as he oversalts in the use of the words of the Oryol language ... ”Turgenev understood the validity of these tips and not only took them into account in working on the further links of his cycle, but also significantly revised for the second edition already published stories. Fifteen years earlier, Gogol carried out the same purification of his language - in the draft manuscript of the Sorochinskaya Fair there were much more dialectisms than in the printed text of this story.

And even Reshetnikov, whose writings the aristocratic critics contemptuously treated as the literature of "tolds and kolds", was forced to significantly sacrifice his dialectisms and their exact phonetic notation ("ishsho", "bat", "is", etc.) all in those in the interests of comprehensibility. True, Reshetnikov's position on this issue was not consistent. In some cases, he more than once phonetically accurately reproduced the speech of his Komi-Permyak characters and intensified the dialectal coloring of the narrative. Instead of: “I’m definitely sick,” Reshetnikov wrote, for example: “I’m also in trouble inside”, instead of “disease” - “pain”, instead of “everything is sick” - “illness”, etc. In other cases, he destroyed during processing original provincialisms, eliminating with them, in the interests of clarity, the old lexical forms.

Against the unjustified abundance of dialectisms with all the energy Gorky spoke. Sun. Back in 1917, he told Ivanov: “Your language is bright, but there are few words, and you often use non-literary, local words. They're good at dialogue, but they're not good at description." In a 1933 article, he stated: “Local sayings, “provincialisms,” very rarely enrich the literary language, more often clog it by introducing uncharacteristic, incomprehensible words.” Gorky made the same reproaches to individual writers: "You are abusing local sayings"; "... you too often take local sayings that are understandable in Ryazan, but alien to Pskov"; " Big mistake- write in words that are understandable only to the population of one province. So Gladkov's "Cement" was written, and this spoiled it very much good book". And about the same to Gladkov: “The action of Cement takes place in Novorossiysk, as I understand it. Behind Novorossiysk is a huge multilingual, multilingual Russia. Your language will be difficult to understand for Pskov, Vyatich, the inhabitants of the upper and middle Volga. And here you, together with many modern authors, artificially reduce the sphere of influence of your book, your creativity. Panache with local jargons, sayings is especially unpleasant and harmful right now, when all of Russia, raised on its hind legs, must hear and understand itself well. Gorky's last phrase is full of especially deep meaning.

Remarkable struggle against dialectisms, which not so long ago was carried out by Sholokhov in the novel Quiet Flows the Don. Comparing the texts of the first part of the novel, we see how persistently the writer first brought his language closer to the general literary speech of our time. This mainly concerns the author's language, but not his alone: ​​Sholokhov sought to ensure that his characters were understandable to the general Soviet reader. The regional word “zhito” was replaced by him with “rye”, “necklace” with “gate”, “kochetov” with “roosters”, “teleshami” with “naked”, “sandy loam” with “sand”, “glared” with “ looked back”, “rowed” at “wanted”, “glaring” at “mad”, “kobarzhin” at the “ridge”, “thunderbolts” at “bells”, “beeped” at “stomped”, etc. Sholokhov’s editing concerned and those cases when the word given by him with excessive phonetic accuracy could complicate the mass reader. So, he ruled “finish” to “finish”, “ishsho” to “still”, “it” to “after all”, etc. Even such widely understood words as “dad” (instead of “father”) were eliminated, “ after" (instead of it - "later"), "burakovaty" (from "burak") changed to "beetroot".

One of the writers who spoke at the Second Congress expressed the opinion that, although the language actors"Quiet Flows the Don" and "was cleared of local sayings", he "in some cases ... turned out to be duller, more inexpressive ..." Apparently, Sholokhov himself came to the same conclusions. At least in the last, eight-volume edition of his works (1958-1960), he restored many words taken from the dialect fund of the language of the Don Cossacks. In this last edition of The Quiet Don, Pantelei Melekhov says “nadys”, Dunyashka - “azhnik”, Pyotr - “it”, Ilyinichna - “oholon troshka”, etc. Thus, Sholokhov eventually saves - in the interests of the local color - dialectal speech in the language of the heroes of "Quiet Flows the Don".

Writer working on a dictionary tends to some norm of the language, not cluttered with local sayings. It was not for nothing that Zola rejoiced that he had prepared “everything that was needed for the novel “Earth”: large and small farms, a typical French province, a central, very characteristic landscape, a cheerful population speaking a pure language, not a dialect.” From this quote, it is especially obvious that the writer's concerns about the purity of the dictionary are inextricably linked with concerns about its typicality: the absence of "patois" - the village dialect - should have contributed to the general comprehensibility of the future novel, the accuracy and expressiveness of its linguistic characteristics.

From this wary attitude towards "dialects" one should in no way conclude that the writer should not strive for lively and unconstrained, colloquial speech. The whole point is that the writer feels the natural boundaries of his lexical fund, that, full of elements of "vernacular", the writer's language at the same time does not lose its literary quality. Korolenko approved of the work of the young author for the fact that it contains " good language, eating local dialect, just in moderation. Even once deviating from this one true path, the writer can return to the right path, if only he has enough taste.

Often the writer does not have enough funds at his disposal mother tongue. For one reason or another, he does not want to borrow the required word from abroad and begins to invent new words that have never existed before. Gorky recalled how, in his youth, he strove to "invent new words", "scribbling entire notebooks with them." This is already in mature years engaged in such poets as Benediktov and Balmont. Far from all of them neologisms entered the literature. Neologism enters the literary language only when it satisfies the needs already emerging in society for expressing what has not yet been characterized in the language. Such is one of Dostoevsky's neologisms, which the writer was extremely proud of. “I,” he said, “... managed to introduce a completely new word into Russian speech, and when I met this word in print, I always felt the most pleasant impression.” The verb "shuffle" has indeed entered the flesh and blood of the Russian literary language, strikingly different in this respect from Dostoevsky's other neologisms - "sympathizer", "infernal".

A special, contemporary to us, variety of neologisms was inventing new words that were supposedly in deep consonance with the spirit of the Russian language. And here Gorky again expressed his harsh and sobering opinion. He sharply criticized Panferov's invented word "shrunken". “... It is recognized,” Gorky noted, “that the Russian folk language, especially in its specific verbal forms, has excellent figurativeness. When it is said: huddled, wrinkled, writhed, etc., we see faces and postures. But I don’t see how the body and face of a person who has “shrunken” changes. The verb "shrink" is clearly artificial and ridiculous, it sounds as if it combines three words: boredom, skin, revived. IN " open letter A. S. Serafimovich” Gorky severely criticized manifestations of “verbal trickery”, “wild words”, examples of “idiotic” language in the works of Permitin and others. “From your life,” Gorky wrote to Ryakhovsky, “the word “dodelist” is well taken. Know how to distinguish what sounds strong and is given for a long time, from verbal dust, which tomorrow will be completely blown away by the cold breeze of reason, a lover of accuracy and clarity.

The direct opposite of neologism are tongue clearing tendencies. They concern not only barbarisms or vulgarisms, but also those words that, it would seem, have already taken root in the literary language. So, for example, Chekhov admitted that words like “accompaniment”, “disc”, “harmony”, “ideal”, “impulse”, etc. interfere with him. it's marmalade." He spoke to Gorky about the inconvenience of foreign, non-native Russian or rarely used words: “... I put up with “college assessor” and “second-rank captain” in descriptions, but “flirting” and “champion” excite (when they are in descriptions ) I am disgusted. This Chekhovian hostility is fully shared by Fedin: “... It is impossible,” he declares, “to use worn out, vulgar, supposedly beautiful words. I have an unwritten dictionary of unusable, forbidden words (for example, such a category as "bliss", "voluptuousness", "lyre") ... "

Enrichment and selection are two constant trends in the writer's vocabulary. His speech cannot develop within the narrow boundaries of the personal lexicon, it needs constant updating from the outside. If this constant enrichment did not exist, the writer's vocabulary would inevitably turn out to be emasculated. And vice versa, if this process of enrichment were not introduced into the boundaries by the will and taste of the writer, his individuality would be suppressed and distorted. The lexicon of the classics is remarkable precisely because its creators managed to avoid both dangers. As Gorky beautifully described it, “this is a genuine literary language, and although it was drawn from spoken language of the working masses, it differs sharply from its original source, because, depicting descriptively, it discards from the speech element everything accidental, temporary and fragile, capricious, phonetically distorted, which for various reasons does not coincide with the main spirit, that is, the structure of the common tribal language. “...Starting with Pushkin, our classics selected the most accurate, vivid, weighty words from the speech chaos and created” the great Russian language.

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From the book Promise does not mean marriage author Berendt Greg

Vocabulary Now that you've set your baseline criteria, we want to make sure you stick to them. Everyone says you can't go over red flags, but they rarely mention where you might stumble upon them. That is why we have compiled a glossary of the most typical

The dictionary of the writer's language contains a description of the words used in his writings. In this case, a complete selection of words is made from all literary works, including texts of variants, as well as from letters, notes and official papers of the writer.

The most complete theoretically developed explanatory dictionary writer is a four-volume "Pushkin's Dictionary of Language" under the editorship of V. V. Vinogradov (M., 1956-1961, 2nd ed. T. 1-2, M., 2000), which was created at the Institute of the Russian Language of the USSR Academy of Sciences under the program of G. O. Vinokur. The dictionary contains and explains 21,191 words. An additional volume was published in 1982 "New materials for the dictionary of A. S. Pushkin"(1642 words), which includes new vocabulary materials extracted from all the original versions of the works of A. S. Pushkin.

The first dictionary of the writer's language - Dictionary for Derzhavin's Poems. Works by Derzhavin with explanatory notes by J. Grot»(St. Petersburg, 1883. Vol. 1).

The dictionaries of individual works include words from certain works of a particular writer. This includes (in contrast to the actual linguistic work, which is the dictionary of the writer's language) various kinds of reference books on the work of writers, provided with explanations and comments. Such publications include: "Experience of a historical dictionary about Russian writers" N. I. Novikov (Moscow, 1772), which provides information about 250 writers; seven volume "Dictionary of literary types" edited by N. D. Noskov (Pg., 1908-1914); "Shchedrin Dictionary" M. S. Olminsky (M., 1937); "Dictionary of the comedy "Woe from Wit" by A. S. Griboyedov" V. F. Chistyakova (Smolensk, 1939); "Dictionary-reference book "Words about Igor's Campaign"" V. L. Vinogradova (Issue 1-6. M., 1965-1982); "The Lexical Composition of The Tale of Bygone Years: Word Indexes and Frequency Dictionary" O. V. Tvorogova (Kyiv, 1984).

In 1989, a book was published in Minsk "The Tale of Igor's Campaign" in Literature, Art, Science: A Brief encyclopedic Dictionary» . Its author, a well-known scientist in the field of East Slavic philology M. G. Bulakhov, notes that this is “the first attempt to create a reference book only about major achievements in the study and creative development of the work since the 90s. 18th century up to our time." This richly illustrated edition contains information about Musin-Pushkin, the discoverer of The Lay, translators of the unique monument of antiquity into modern Russian and other languages, statements of researchers and writers about the Lay. Artists who created their works based on the Tale of Igor's Campaign are presented.

An interesting and unique description of the neologisms of a single author was undertaken by N. P. Kolesnikov in "V. V. Mayakovsky's Dictionary of Neologisms" edited by N. M. Shansky (Tbilisi, 1991). It contains about 2000 "specially made" the poet of words.

Original "Dictionary for the plays of A. N. Ostrovsky" N. S. Ashukina, S. I. Ozhegov, V. A. Filippov was published in Moscow by the Vesta publishing house. in 1993 (reprint edition). This is a dictionary of a peculiar ethno-cultural type, which is emotionally and accurately stated in the preface: “The dictionary turned out to be amazing. It's hard to even call it in a dictionary. This is a whole encyclopedia of Russian life, which has now gone into the distant past. What did the tavern look like? What were Maryina Grove and Kuznetsky Most famous for? Who is the boyar Pleshcheev? What does “handshake”, “Take on a zugunder” mean - each page is full of surprises. The dictionary reads like a fascinating story.

This dictionary contains three types of commentary: historical and everyday, historical and theatrical and philological. Historical-everyday and historical-theatrical comments contain subtle life observations, valuable information and picturesque sketches of a historical, cultural and everyday nature. As for philological commentary, the dictionary contains many words of ancient, regional, obsolete, obscure or completely incomprehensible to the modern reader, as well as a large layer of vocabulary and phraseology of a colloquial nature (everyday speech of representatives of the merchant, bourgeois, petty bureaucratic environment). Words and expressions characteristic of the individual style of the playwright are also placed. Let us give a typical example of Ostrovsky's introduction into the language of the old word "bogey" with a different (wider) meaning. In Church Slavonic, it originally meant the concept of "burning sulfur". Ostrovsky (the comedy "Hard Days") in the speech of a merchant's wife means something completely different, namely: something that inspires fear, horror, disgust with its incomprehensibility; scarecrow ("As soon as I hear the word" bogey ", so my arms and legs will tremble"). From Ostrovsky's comedy, this word came into common use in a new meaning.