The aim of this work is theoretical consideration of the characteristics of psychological female prose in the modern literature. The analysis of the historical conditions of the female prose appearance as a separate literature style is carried out. The authors of classical and modern psychological prose are presented. There is the question raised about gender identification of the female literature, which sufficiently makes it possible to highlight the history of female creativity. The distinctive features of the female artworks are revealed. The concept of «female prose» is studied. Classes of writers have been determined. They are divided according to the choice of creative preferences into those who stick to male perception; emphasize female identity; try to avoid self-identiication with any gender. The author of the research identifies three types of female prose that prevail in modern female literature, namely: androgynous, annihilation and feminine types. It is also mentioned about the costs of gender literary criticism oriented towards the style of the western feminist practice. Genre varieties of female prose are revealed, such as ironic detective story and love story. The researcher gives a working deinition of linguistic imagery. The conditionality of the implementation of the imagery category in the texts of the female psychological prose is analyzed: use of various igures of speech (metaphors, epithets), parenthetic structures, afixes; use of colloquial vocabulary; introduction of intertext. The article reveals the content of the next concepts: an artwork image, character description and psychologism. The types of psychologism (direct, indirect and psychological analysis), its techniques and methods are listed. The tactics of reticence and aposiopesis are investigated. They contribute to the creation of emotional tension and explicate high intensity of experienced emotions. Besides, it is mentioned about the means of interjection such as hesitation, pauses, non-speaking and voiced pauses. Considerable attention is paid to the pragmatic component of both the author and the character's statements meaning. In conclusion, an attempt to determinate a working deinition of «psychological female prose» is made.