The article focuses on the concept of literary reputation and its research. Based on the concept of cultural mediation, literary production is considered broader than the author—reader pair and includes other intermediaries — critics, publishers, editors, etc., who form interpretations of a literary product, support the literary canon, and thereby participate in the construction of literary reputation. Reputation is understood as a consistent and stable assessment of an individual, formed through discussion in a social group, that is, discursively. Literary reputation has a relational origin, it is formed not only on the basis of the author's texts, but also as a result of the statements of other actors in the literary field; it is a social construct that combines the artistic value of a literary product, institutional recognition and cultural expectations. An empirical reconstruction of literary reputation based on 35 semi-structured interviews with literary critics shows that, since such a reputation is formed not only through texts, but also through interaction with critics, publishers and other intermediaries, and also depends on public perception, a modern writer is forced to go beyond purely creative activities. He must not only create works, but also actively shape his media image by participating in public communications, managing reputational capital, which depends on recognition, image, personal views and is influenced by public opinion and media scandals.