What is Women’s Fiction?
It’s not all ChickLit! Let’s debunk some common misconceptions so you can unlock a wealth of readers.
There’s controversy in the term “women’s fiction,” especially for authors. The term feels limiting and outdated. And authors often don’t want to admit to writing women’s fiction for fear of being dismissed as some sort of lesser-fiction, or god-forbid, “ChickLit.”
But all those stories have their place in the market. ChickLit certainly isn’t lesser-fiction, especially when you look at sales.
Women’s fiction, though, encompasses a much broader category of fiction.
So, what is women’s fiction?
Many of the most popular stories fall into the category of women’s fiction:
- Firefly Lane by Krisitin Hanna (One of the most popular shows on Netflix, adapted from a book)
- How to Walk Away by Katherine Center
- Little Women by Louisa May Alcott
- Me Before You by Jojo Moyes
- Beloved by Toni Morrison
- Where’d You Go, Bernadette? by Maria Simple
- The Notebook by Nicholas Sparks
Notice that nearly all of these title have been made into screen adaptations — ones you’re probably familiar with. Women’s fiction (often labeled as “drama” in films) is immensely popular.
In fact, these books are often so popular that many bookstores don’t even differentiate between women’s fiction and general fiction.
So why label your story women’s fiction?
If your story fits the genre parameters, you’ll find your readers more easily because they’re looking for stories like yours.
What specifically makes a story women’s fiction?
When you pick up a story to read, and it’s full of exciting twists and turns, do you prefer to stick to the action, or to watch the protagonist struggle with their internal demons and be forced to learn something about themselves in the process?
If you crave the drama, the surprising insights, and the heart-wrenching dilemmas of character self-realization… you probably enjoy women’s fiction.
Women’s fiction is a focus on the emotional arc of a story. The plot can be bursting with action, but all the major plot points and mileposts within the story are emotional turning points for the character.
For example, a story about a woman searching for her kidnapped daughter would be a thriller if the plot progresses through the actions of the kidnappers, the held child, or law enforcement. All of the major plot points (the point of no return, the midpoint, the darkest moment) in thrillers, generally relate to what’s happening outside the main character.
That same story would be women’s fiction if the main plot focused on the protagonist herself, and as she uncovered clues and recovered her daughter, she learned more about herself and was forced to face the parts of herself she would prefer to keep hidden.
Does this mean there isn’t action or excitement in women’s fiction? Absolutely not! Many of my favorite books in this genre rival the excitment of a blockbuster movie. But what sets women’s fiction apart as a genre is that it takes the action a step further and lets the reader feel the (often massive) emotional impacts of what has happened.
Women’s fiction is a separate category to tell the reader there’s more emotional content (drama) than would generally be found in other genres, and women are the largest consumers of that type of fiction.
Does the protaginst need to be female?
Nope. What makes women’s fiction stand out is the learning and discovering of the truths inside all of us. Nicholas Sparks writes wildly successful women’s fiction, and he writes male protagonists.
If a book can successfully give me insight into what’s going on in a man’s head, I’m hooked. It’s often very different from how I would approach a situation, and I love learning more about those differences.
So don’t let the “women” in women’s fiction hem you in. Write about emotional conflict, write it well, and you’ll find an entire genre of readers ready to give your story a chance.
Does women’s fiction have to be serious?
Women’s fiction includes a wonderfully diverse range of stories. Some are serious and introspective, some are fun beach reads, and others tackle difficult subjects with raw humor. The genre is not as limited as people might think, and with every passing year the stories grow more diverse and more creative.
But how does women’s fiction differ from romance?
Both genres sell well, and some people consider romance to be a part of women’s fiction, but generally romance focuses on the relationship itself (with all the tropes and expectations expected of a romance story), and women’s fiction is about the protagonist and their emotional journey. And while generally romance requires a happy, optimistic ending, women’s fiction embraces the bittersweet and often painful resolutions, along with the good.
But why does this matter? Why label my story women’s fiction instead of commercial fiction? Won’t I be limiting my audience?
Remember, the goal is to get your story into the hands of every reader for your particular type of story.
Play to reader preferences, and use labels to communicate that your story is the one they’ve been looking for. Because it’s not a small majority who might be interested in your writing.
“Women are not only keener buyers of fiction — surveys show they account for 80% of sales in the UK, US and Canadian fiction markets…” — Johanna Thomas-Corr
While that’s no guarantee that every one of those 80% will want to read your specificy type of story, if that statistic is true, those are great odds in a market — a $10 billion market back in 2021.
The bottom line: If your story fits the emotional arc of women’s fiction, embrace the category (at least until the industry can agree on a better term). This label tells readers your story is what you’re looking for. It’s how agents will sell your novel. So embrace the beautifully complex genre and tap into your true audience.
Happy writing!
Elizabeth Russo is an editor and author with a passion for helping new writers navigate their way through the process of taking a good story and turning it into a publishable manuscript. She’s a Florida Writers Association Top Ten Short Story winner, a 2021 Royal Palm Literary Award Finalist, and a returning Royal Palm Literary Award judge. She’s an active member of the Florida Writers Association, the Women’s Fiction Writers Association, ACES: The Society for Editing, and the Editorial Freelancers Association. Have questions? Reach out!
