What can be taken into account when evaluating and analyzing a work:
The overall impression of the book is one-piece, fragmented, powerful, weak, pleasant, pathetic.
The plot – how logical it is reduced, are there any moments that do not work on it, do not the lines hang? The narrative is dynamic, unhurried, protracted, driven, torn. How much dynamics of the narrative corresponds to the genre and tasks set in the book? Is the author trying to “steer the plot,” bending the logic of events in favor of the plan?
Heroes – how detailed and authentic they are, is their psychology natural enough, could they do just that under the given circumstances? Are these heroes sympathetic to the reader, do they empathize or disgust?
Language and style – in the context of the task.
Reliability in general and in detail. Are the laws of nature and science violated in the book, did they wear such uniforms at the appointed time, did they say in French in the salons, is the text of the prayer sounded right? I always give an example from my own story, to which I was solemnly poked at the seminar by Oldie – the hero was standing guard in the rain and his hooks were soaked with shoes. Hooks. Metal. Wet.
Phantom – what exactly is, how well it is designed and how necessary? Is it possible, without prejudice to the book, to remove princesses with dragons or stars?
Psychology of relationships – do the characters have internal motivations for actions and whether they are sufficient, do they behave in a variety of ways or rigidly follow standard reactions, is not there any feeling behind the backs of the puppet heroes of the hard hand of the author-puppeteer?
The main idea of the text – is it ethical, clever, original? What does the book teach the reader that he wants to tell him?
Display – did the author succeed in translating his plan into an explicit form, does the reader see the cave of dragons or the felling of a spacecraft? Is it possible to isolate the author’s idea from his text from the first reading?