Do You Write Women’s Fiction or Men’s Fiction?
by Mara Purl
“There’s no such thing as Men’s Fiction.” This was Andrew Klavan’s immediate response to my question about whether he’d want to debate this issue at the then-upcoming 2008 Ventura Book Festival.
More recently, fellow authors and readers alike have expressed surprise, saying they didn’t know Men’s Fiction was “a thing.” Is it? It seems to me, it’s been hiding in plain sight all along.
Good or Bad Fiction?
“Fiction” used to be the comprehensive name for all books that a weren't non-fiction.
I remember a conversation with my father, an omnivorous reader. I described some of the sub-genres that were emerging at the time: mystery, thriller, romance, and several others. He pondered this for a moment then remarked, "But is it good fiction or bad fiction? That's the only thing that matters."
From his perspective, it seemed simple. But that was before books could be digitally delivered with technology that opened both new possibilities and fresh responsibilities.
24/7 Access to Every Genre
The digitization of cultural works, namely books, began in the 1970s. Flash forward to the early 2000s, which is when universities began opting in to Google’s Book Search project.
Note: This was a project against which the Author’s Guild filed a lawsuit in 2005 because authors had not given their permission for their works to be searched, and this project was thus (the first of many) copy infringments.
That kind of search referred to interior content. Meanwhile the ability to search for books by title and theme was greatly enhanced. Customers looking only for a particular type of book could begin to find it through brand new search functions. And search they did, creating the requirement on the part of publishers to label their books not only by genre, but by sub-genre.
Of course, there had always been mysteries and thrillers, romances and family sagas. But now, one didn't have to walk through bookstores or investigate library shelves to find them. Now one could search them out at home, and a few years later, from anywhere on a smart phone.
Part of Why “Women’s Fiction” Developed
In this vast pantheon of available titles, most were written by and for men. Eventually those written by and for women were labeled as such. But since all other fiction was essentially men's fiction, labeling it would be like putting up planet-wide signs to say oxygen was in the air. Men's fiction was that omnipresent and we didn't need to be reminded.
Then things changed. The sheer volume of female readers became a significant factor.
Surveys over the past decade indicate that while about 35 percent of readers are men, approximately 50 percent of readers are women.
Though they, like male readers, read just as omnivorously as those of previous generations, they also expect delivery of curated content to their shelves and devices.
Women’s Fiction Tests
In the 1985 comic strip Dykes to Watch Out For, cartoonist Allison Bechdel created an episode called “The Rule.” She attributes the idea to her friend Liz Wallace. The Bechdel-Wallace Test measures the inclusion and representation of women in works of fiction. The work can be listed as Women’s Fiction if it has: 1) at least two women; 2) who talk to each other; 3) about something other than men.
This test inspired two others.
- The Mako Mori is a test about female characters having their own narrative arc
- The Finkbeiner is a test about the portrayal of women in science.
During that initial debate, perhaps Andrew Klavan and I created the first Men’s Fiction test.
Book Festivals & Breakthroughs
Back in the day, authors in SoCal (Southern California) could take advantage of a built-in tour of book festivals each autumn. Panels, presentations, readings and signings were held for about three weeks each Fall, from Ventura to San Luis Obispo.
As I prepared for the Ventura Book Festival that year, I read about fellow presenter Andrew, author of thirty-plus crime novels, several screenplays, a memoir, and more. Impressed with his writing, and figuring it to be about as different from mine as could be, I wanted to do a deep dive into what exactly made our genres so distinct from one another.
So I called him. You saw his response at the top of this post. My response to his comment was, “There is Men’s Fiction if there’s Women’s Fiction.”
Note: you might enjoy reading my earlier post on Women’s Fiction. As noted there, in today’s parlance, this is fiction written about women.
We could thus assume that Men’s Fiction is written about men. This is, of course, an over simplification. It’d be more accurate to say that Men’s Fiction is aimed at the traditional male audience.
Andrew immediately agreed to the debate. Not only did we have a blast; the room where our session was held filled to the maximum and we had our audience engaged from start to finish, as evidenced by the nodding heads, the laughter, and the applause.
Okay, so we were onto something. But what?
It’s not Two Buckets
In our discussion, we quickly realized we weren’t talking about two buckets. Rather, we discovered these descriptors exist at the two ends of a scale, and we started to identify some markers along its length.
1. Velocity
Men’s fiction tends to move fast; women’s fiction lingers. If you’re in the mood for a fast-paced page-turner, you could race around Rome with Dan Brown in The DaVinci Code. But if you want to slow down, you could delve into Victoriana with Anne Perry’s richly detailed view of London in her Thomas Pitt mysteries.
2. Detailed Descriptions
My favorite way to explain this is by asking you to imagine a dinner scene.
If you’re reading Men’s Fiction, the man walks in, glances around the restaurant, chooses a seat where his back is not exposed, and he can see the front door. He orders a steak and takes the measure of the people in the room, vigilant throughout his meal.
If you’re reading Women’s Fiction, the woman walks in, takes a moment to assess the decor. We see the color of the tablecloths, the type of floral arrangements on the tables, the view out the window, the aromas filling the room. We note how short the servers’ skirts are (if they’re female), the level of manners as she’s being served, the volume of conversations, the type of music being played through the speakers.
3. Wardrobe
In Men’s Fiction, the protagonist wears a shirt, pants, and a jacket. Enough said. Clothing on the females in most scenes is only mentioned if she’s in a sexy dress, spaghetti straps, or short skirt that climbs her thighs as she sits, or drifts upward in a breeze.
In Women’s Fiction, the main character chooses what to wear according to her next activity? Let’s say she dons a tailored suit, silk blouse, sleek heels, and stylish purse. She smooths her hair and captures it in a French twist, checks her makeup, and makes sure to take a coat if it’s chilly.
The important “secret code”
“Why do I have to know all that?” my husband asked while we discussed the upcoming debate.
“Because it’s code,” I explained. “My readers are mostly women. When they read that description, they get that the woman is living in a city, is a professional, is experienced enough to have been working for at least a few years, and takes her career seriously. Since I’ve said it with the wardrobe, I don’t have to say it again when I describe the character.”
A secret code? Yes! And really, not so secret. Something else that hides in plain sight.
4. Feelings
It will come as no surprise that Women’s Fiction lingers over something else too: how the characters feel. When Dan Brown’s main character is racing around Rome, there are no breaks in the action. That’s the point. And it’s great fun for the reader to do his or her best to keep up.
But when Robyn Carr’s protagonist finds herself in the presence of a certain man, she pauses to consider her feelings. What’s triggering her reaction? Is she haunted by a previous encounter? Is she confronted by something she’s never felt before? Why has her pulse sped up? Is he standing too close? Though the “action” may have stopped, the story is actually ramping up. Not only do we get her feelings, as the story continues we also get her take on other characters’ feelings, and how it might be driving them.
In Men’s Fiction, the feelings, whatever they might be, tend to be revealed by the action. My mentor and friend Louis L’Amour would show his cowboy “lighting a shuck” and racing across the landscape to head the bad guy off at the pass. He didn’t describe the man’s feelings; he showed the strength of those feelings through the action. That works! It’s just a different way of telling the story.
5. Interior Dialogue
The breakthrough that allowed readers inside the thoughts of a female protagonist was created by Jane Austen.
Until then, Regency fiction tended to place nicely dressed characters onto the chess boards of their rigorously mannered society. We saw their expectations and manipulations. But when we meet Elizabeth, she reveals her innermost misgivings about this life that’s so restrictive. We see and feel her pride and her prejudice through her actions and her dialogue.
Now, the interior mindscape of characters is a key part of Women’s Fiction and is virtually unthinkable without.
Text & Cover Styles
As these respective genres were increasingly honed in the sometimes awkward collaboration amongst authors, publishers, and readers, the interiors and exteriors of books shifted to show their respective “codes.”
In bookstores, and on Amazon category pages, specific colors became prevalent: for Men’s Fiction, red and black; for Women’s Fiction, pastels. There is much more to the art and science of cover design, but that’s a separate conversation.
Meanwhile the page length, plot points, story arcs, pacing, sentence length, vocabulary all also became codified to match their respective genres. Plenty of authors break these rules. Yet many also work hard to deliver within the recommended framework.
Why is it so important to clearly define genre?
Because of all the goals authors try to achieve, perhaps there’s one that’s most important. Our readers are counting on us to deliver what we say we’ll deliver. If we say it’s a work of literary fiction, then it needs to be; if it’s Men’s Fiction, it better have those taut, muscular elements; if it’s Women’s Fiction, you can count on us to deliver multiple layers of thoughts, relationships, and feelings.
As an author, you make sure your readers can count on you. What do you make sure you deliver? Do these elements it fit within the genre for which your books are coded? Do you feel your writing enhances your genre? We'd love to hear your answers down in the comments!
* * * * * *
About Mara
Mara Purl is the best-selling author of the Milford-Haven Novels & Novellas a series of Women's Fiction books which have won 75-plus book awards, appeared on multiple best-seller lists, and are based on her hit Milford-Haven, U.S.A., with 4.5 million listeners on BBC Radio. Mara wrote for the A.P., the Financial Times of London, and Rolling Stone among many others. As an actress, Mara is best known from Days Of Our Lives and she's a frequent speaker and presenter at local and national book events, has served on the boards of author and publishing organizations for 25 years, and has taught writing and literacy programs in Colorado, California, Alaska, and Japan.
You can find out more about her at marapurl.com
Blog images were purchased from depositphotos.com
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34 comments on “Do You Write Women’s Fiction or Men’s Fiction?”
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The industry doesn't even recognize 'Women's Fiction'anymore. I get the angst, but the reason for genres is for readers to find books they like.
It's irritating.
That's an interesting point, Laura. Even Amazon doesn't list "Women's Fiction" as a major category. I agree, genre labels are for the readers. I wouldn't ask them to buy a box of food without knowing at least whether it's protein, vegetable, or fruit so while it makes it difficult for me to label my writing via genres, I do it for the reader.
Hi Laura,
Thanks for your comment. The Women's Fiction genre is getting more and more traction. (See my previous post, "Is it Romance or Is It Women's Fiction?") Several references are mentioned there about how many authors in the Romance genre are transitioning, or even calling their "Romantic Women's Fiction" to show that their stories go beyond the single-focus on a romantic relationship. Amazon does list Women's Fiction a few times in sub-genres. We're making progress!
Saw this article this morning:
Jane Friedman: https://bitl.to/4Q8s
Women's Fiction has already left the building? That's super annoying to me, since that's very much what I write. Guess it's back to "Book Club Fiction" or "Mainstream with Romantic Elements" for me.
Jenny,
I disagree. From research I've done, Women's Fiction is actually gaining traction. Write on!
When I write, I don't write for a specific gender. I write the book that is inside me wanting to escape.
If women prefer it, that's fine, but equally so if men prefer it.
I was surprised when Readers' Favourite described Jealousy of a Viking as "Women's historical fiction as it's meant to be." I hadn't thought of it as Women's fiction. I still don't.
Your stats at the beginning of your post confused me. 35% of readers are men. 50% are women. What are the other 15%?
That last question made me laugh. I thought the same thing. I'd surmise that the last 15% was "decline to state." 🙂
The other 15%-- I assumed they "don't read."
Great article, on a topic I've mused on plenty myself. I absolutely love the Bechdel-Wallace Test. And it's interesting that WF sounds a lot like literary, and MF like commercial, in your description.
I approached this topic from a slightly different perspective in a blog post "Why I Hate Women's Fiction" a while back: https://authorsmstevens.com/why-i-hate-womens-fiction/
My problem with the genre label is that it suggests women will only like women's fiction or, that only those books are relevant to the female audience. The label suggests most men would not be interested in the stories. It pigeon-holes many books into a narrower category than they deserve, and it encourages stereotypes.
I understand why it exists (and thoroughly appreciated your history), but I also think we should be challenging the need for it. Much like awards for women achievers in business and the arts, I look forward to the day when the need for the WF genre is obsolete.
Hi S.M.,
Thanks for your comment. Ah, the challenge of labels! In many ways, we authors don't need or want them. But when we arrive at the marketplace with our basket of books, we want to be readily found. On which table(s) should they be displayed? That's the challenge. One good thing about doing gender deep-dives for our books is that we connect with fellow authors in synchronistic ways. I love that, as it gives me a chance to recommend other authors I feel my readers would enjoy, and learn from other authors in my genre. Best to you with your writing!
Not only, but also is the debate as to either's facility at writing characters opposite the author's gender. IMO, the key is deep appreciation of the other gender's sensibilities and values. Speaking for myself, I'm much more comfortable than most men with the inner landscape and cascades of emotions that drive behavior; however, my eye for physical details expresses better in my home decor than through the lens of a female character. I guess my point is that similar to "genre-blends," there are also "women's-men's fiction blends." AS one of the latter writers, I pay attention to layering outer action with the inner landscape as I seek to provide both. Lucky for me that I have a quasi-unisex name: Lanny
Hi Lanny,
Thanks for your comment. Sounds like you've found an effective way to position your work on the spectrum between female and male qualities and expressions. Excellent! Writing makes us more aware of how we think and what we notice, don't you find?
As a writer of works for children, I found this intriguing. Readers identify with a character or a situation. (Really, a character in a situation.) Hook the reader by giving them something to latch on to.
They say boys won't read books about girls, but the opposite isn't true. And more girl are readers. (That's not new info. It goes back to at least the 1990s.)
I wonder how all this plays into the adult genres.
Hi Debbie,
You're right, there's plenty of "cross genre" reading. At my events, I sometimes get questions from men as to whether or not I think they'd enjoy my Women's Fiction novels. My answer is that evolved men do enjoy them, because they're interested in how women think. And certainly many women read Men's Fiction. Both enrich our lives.
There's a category I've seen recently called "Book Club Fiction." To me, it's women's fiction, but there's probably a marketing reason for creating that category.
(When it's my turn to choose a book for my book club, I make 'em read a mystery, which is what I write.)
Hi Terry,
Good to hear from you! That's interesting, a new category for Book Clubs. Since most book clubs are run by women, I agree that Women's Fiction might be a prime choice. But who doesn't love a good mystery? That's a genre universally enjoyed. Best to you!
Interesting article. Always worth considering.
I write speculative SciFi and, while I use an ensemble cast of characters, most of my key characters are women. So, I find myself weaving between these two methods of presentation. The bulk of my writing, I'd say, is stingy on description, although not without embellishment–sometimes more, sometimes less. As far as characterization, I lean on showing my characters through their words and actions. Yet, I'm more often sharing my female leads internal thoughts, than my male leads. Plus, I've used dreams and flashbacks to fill in backstory on my female protagonists and antagonists, while I've done nothing else for my male characters. In retrospect, I haven't given my male protagonists any but the slightest of character arcs. However, one male villain does experience a change.
Women, to me, seem much more interesting characters–precisely because there is so much more going on in their heads. I think (hope) a balance can be reached that will appeal to a wider audience.
Hi Jerold,
Speculative SciFi sounds fascinating! I recently connected with a Speculative Fiction author in New Zealand, Lee Murray. Check out my "Novel Conversations" YouTube podcast where she'll be featured in May. You make such interesting points about internal thoughts and characterization. All the best with your writing!
Right on, Mara. I remember back in the day my RWA (Romance Writers of America) chapter discussed the meaning of women's fiction, and for your WF book to be eligible in RWA contests, it had to have a level of romantic elements. A number of members decided to create their own WF organization (hi Laura Drake!), and thus Women's Fiction Writing Association was born. This is their excellent definition of WF: "Women's Fiction is a layered story in which the plot is driven by the protagonist’s emotional journey. Women’s Fiction can encompass a wide range of genres, including speculative, mystery, contemporary, science fiction, and more, and can be set in any time period."
It can have romance, but that's not the story.
Hi Barb,
We are exactly on the same page, as it were. And I agree, that's a superb description of the genre. Thanks for sharing that! It's a rich genre that grows richer all the time. Thank you!
You are right, there is a continuum between men's and women's fiction. Thanks for a thoughtful essay..
Thanks very much, Matthew.
This is an emerging thought with me. Of course we can't discern genre from online sales (unless some wonderful person takes the time to write a review), but at my in person book sales, I think the spread is about 60% men, 40% women even though my books are "supposed" to be young adult. Last year, at a comicon, I had a 50+ gentleman come to my booth just as I was setting up, told me he was glad I was there. He'd bought my first book the year before, and bought my second when I barely had my credit card swiper thing turned on. And my recent covers, designed by a woman, might be more male-leaning. So, now another thing to think or angst about.
Hi Vicki,
Sounds like you're having good success connecting with your readers. YA is a fascinating and dynamic genre that's become so expansive it now attracts adult readers. Perhaps readers of your genre are more young-at-heart and imaginative than just being chronologically young. Best to you with your writing!
Great post! I knew my taste in fiction was very narrow, but I didn't realize how narrow. I skim, skip, or find myself irritated by a lot of the passages you identify as women's fiction. I guess I now know who I'm writing for. Thank you.
Excellent intel for any writer! Write on, Bob. 🙂
Thanks for your comment, Bob. The entrance to the path, i.e. the genre that best fits our writing style and reading tastes, is narrow. But as we travel that path, it expands as we find more like-minded colleagues and readers. Hope that's how you experience it. All the best with your writing!
Both? Neither?
I write mainstream fiction, a category which somehow disappeared when Amazon started fine-grain categorizing everything.
But I've always written equally developed male and female characters - and have been delighted that some of my best reviewers are older men. Eloquent, well-written reviews from men are an incredible gift.
My mainstream trilogy, Pride's Children, is written from the rotating povs of two women and one man, set in the world of Hollywood and writers. I pick the pov character for a scene based on getting all the bits of the story told, and have a process during which I channel the pov character so I can write from their pov (no narrators, no external descriptions).
I consider John D. MacDonald, author of the Travis McGee stories, my mentor for writing a thinking, feeling, action-based male character - if JDM does it, I can see how.
I wouldn't categorize Pride's Children as Women's Fiction OR Men's Fiction, and I aim for believable realistic fiction where the character have proper motivation, for everything they think, say, or do.
As an extreme plotter, I've been able to balance the different elements - I found a lot of the books I've read tending to be focused more on one or the other side of the gender wars, so I'm writing the books I want to read. It DOES take a lot more words! The first two books in the trilogy, PURGATORY and NETHERWORLD, are 167K and 182K. The final volume, LIMBO, may be a little longer.
Hi Alicia,
Thanks for sharing! Sounds like you're in the enviable position of being able to place your books in both Women's Fiction and Men's Fiction categories per Amazon's designations. On that aforementioned continuum, you've achieved balance. All the best with your writing!
interesting take
Thanks for reading, Denise.
Do you write Women's fiction or men's fiction? was the question. My answer is "yes", I do. I write women's fiction or men's fiction.
I write. I never direct my fiction towards one gender or another though the majority of my readers tend to be female. I suspect that is simply because the majority of readers tend to be female these days.
Surely women's "fiction" is simply fiction. Men's fiction similarly. Like many writers I write what I would wish to read and don't give a damn who reads it, lol, as long as someone does.
This seemed a weird question to me. I was surprised it gained so much traction.
Hi Raymond! Thanks for weighing in on the discussion. I believe it took off because platforms like Amazon require us to categorize to gain traction with readers.
For women's fiction...first it was mainstream fiction with romantic elements, then it was women's fiction, then it was upmarket fiction, and finally they have settled on Book Club fiction. It's the whirlwind that is exhausting.
So, much for the reaction comes from "how the heck do we get our books properly shelved??" 🙂