Introduction. The analytics of the “storytelling event” in the novel “The Grey House” by M. Petrosyan, associ-ated with such questions as “who sees?” (directs the focal perspective) and “who talks?” (talks about what he sees), leads to the formulation of the problem of the correspondence of “storytelling” and “composition”. Pur-pose. The article examines the ways of organizing a narrative discourse and the author's technique of narrative representation of a teenage hero within the framework of a “large form”. Materials and methods. The methodo-logical toolkit of narratology makes it possible to draw conclusions about the peculiarities of the subject organ-ization of the novel, which has received the status of “cult” in modern prose for adolescents. The methodology for analyzing the narrative strategies of the novel discussed in the work is based on the following categories of modern narratology: “point of view” (B. A. Uspensky), “focalization” (J. Genette), “narrative transformations” (W. Schmidt). The results of the study, discussion. The combination of the direct author's narration, free indirect speech (in several chapters the subject of speech does not coincide with the point of view bearer) and the speech of the narrating character (in some chapters the functions of the narrator and focalizer are given to the charac-ters) in two storylines, built on the principle of counterpoint, can be named by the term “compositional polyphonism”. The peculiarity of the model of compositional polyphonism, realized in the novel, lies in a cer-tain status of the author in prose for adolescents – the author is the carrier of the objective values of being in a non-relational picture of the world from the ethical side. Conclusion. The counterpoint of subjective points of view on one event in storylines of different time periods allows the author of the novel to contrast the levels of consciousness of the heroes and the methods of perception corresponding to these levels. It also allows to create a stereoscopic picture of reality, realized in the perspective of a mono-subject narration.