Are you a reader of 'chick lit'? If so, do you feel ever so slightly 
about the fact - or do you display your well-thumbed collection proudly on your bookshelves?
Mumsnet Blogger Rosie Fiore, who writes over at Wordmonkey, is the author of two well-received chick-lit novels . In today's guest post she argues that the genre has been unfairly characterized as 'mindless entertainment' and 'fluff' - with the unspoken implication that commercial women's fiction is inherently 'unfeminist'.
Tell us what you think here on the thread - and if you blog about it, don't forget to post your URL. We've got ten copies of Rosie's latest book Wonder Women to give away - post here to go into the hat!
"My name is Rosie Fiore, and I'm a chick lit author. I have had two novels published by Quercus (Babies in Waiting and Wonder Women), both of which have had pastel-coloured book covers with curly writing, and which feature skinny cartoon female figures wearing heels. Here are some other things you should know about me.
- I bite my nails and do not own any nail varnish
- I wear make-up perhaps once a fortnight and never blow-dry my hair
- I am 45 years old
- I have zero interest in clubbing and minimal interest in cupcakes and shoes
- I am a feminist
Yes, I'm a loud and proud feminist, blogging about women's issues frequently both on my own site and a previous guest post for Mumsnet. And sometimes, I find myself wondering if that doesn't sit somewhat at odds with my novel writing career.
I should also mention I am a social media addict, and I love the fact that I can use it connect with other authors, both in my genre and beyond. I get a glimpse of them as people, beyond their 100-word biographies. It struck me that when I read tweets or Facebook posts from other writers of commercial women's fiction, many sound rather more like me than they sound like the stereotypical heroines of the genre. They're generally strong, independent women, often mothers, and are well-informed and concerned with issues of social justice. I contacted a few of them to ask whether they considered themselves feminists and how they saw that play out in their writing.
To a woman, they all identified as feminists too. Talli Roland, author of The Pollyanna Plan and The Hating Game, who has just signed a two-book deal with Amazon Publishing, had this to say: "'Feminist' seems to have many different definitions these days, but whatever its meaning, I definitely admire strong women who don't let obstacles stand in their way. I write romantic comedies, and the heroines in my novels are sometimes criticised as being cold and unyielding. While they may not conform to the chick lit stereotype of high heels and cupcakes, I still find such feedback surprising. To me, my characters are focused and driven, and I don't see those as negative qualities. Even in romantic fiction, women don't need to dither around, and they don't always require a man to rescue them. In my books, the hero only comes back into the picture once the woman has figured things out - herself."
For my own part, I've had my novels described as mindless entertainment, light reading and fluff (generally by those who haven't read them), despite the fact that I deal with issues including abortion, post-natal depression, bereavement and rape. I would argue that if you've never read a book with a pink cover, it's easy to dismiss the whole genre, but then you miss out on the great storytelling of writers like Jojo Moyes, and the depth and wit of Lisa Jewell and Marian Keyes to name but a few.
So why do I write what people call 'chick lit'? Well, I write what I would prefer to call commercial women's fiction quite simply because I want my work to be read. If I am going to devote a year of my life to writing a book, I would love as many people as possible to read it, and like it or not, writing commercially is the way to achieve this. Last weekend, when the news broke that JK Rowling was the real author of the 'well-received debut' The Cuckoo's Calling, the most interesting fact was that up until the revelation, it had sold fewer than 500 copies in hardback. Anne Enright's exquisite The Gathering, which won The Booker Prize in 2007, sold just 834 copies before it was nominated, and statistics show that 60% of British authors earn less than £10,000 a year. Stella Newman, bestselling author of Pear Shaped and Leftovers concurs: "My books have pink and purple covers. I have never bought nor read a book, that has a pink or purple cover - I'm not a pink / purple person. Nonetheless, if pink covers mean my books reach a wider audience, so be it".
It should also be noted that until an author is extremely successful and influential, they have little or no control over the way their book is marketed - the cover, sometimes even the title, publicity plans, the blurb - all of these are decisions ultimately taken by the publisher. The only part of my books over which I retain control is the text, and that is where I seek to make a difference.
I don't want to preach to the choir. I don't want to write books that are only read by people who hold exactly the same views that I do, and can nod along in a self-satisfied way. I want to write books which fit the commercial mould, but present characters who are credible role models, who experience challenges and rise to them, and for whom a man is not a saviour or a solution. I hope that readers will recognise themselves in my characters, will identify with the situations and will take strength from the fact that not all women represented in popular culture need rescuing or have their tits out.
Abby Clements, author of Vivien's Heavenly Ice Cream Shop and Meet Me Under The Mistletoe, does something similar: "I try to create protagonists who reflect women I admire in real life, passionate about their work or hobbies, and willing to take risks. There are aspects common to certain women's fiction novels that I consciously leave out - an obsession with body image, and guilt/ self-loathing connected to eating. My characters love to eat! I hope that they are positive role models for younger women. Not perfect, by any means, but more focused on what they do and say, fulfilling their ambitions and creating relationships than on what they look like, wear or weigh."
Stella Newman adds: "I write books in which women take responsibility and control of their lives; they work hard, in real jobs, and they reap the benefits; they make mistakes, they learn from them. The most important relationships in my books are the heroines' relationships with themselves. 'Be the heroine of your life, not the victim,' said Nora Ephron, a woman who followed her own sage advice to 'break the rules and make a little trouble out there...on behalf of women.'"
So on behalf of Talli, Abby, Stella, me and countless other writers, please don't dismiss books because at first glance they appear to be 'chick lit'. Read some reviews, ask some friends. You might be surprised what you find."
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