A few weeks ago, this bit of news hit the twitterverse, in which musician Kate Nash called out a record shop for categorizing widely disparate music by one unifying characteristic: being made by possessors of vaginas. I shouldn’t have been so shocked to learn of a whole store selling vinyl records (those crazy, retro millennials are no doubt driving this trend). I wish I had been more shocked that said store had reduced a collection of such wide and varied artists to the not-a-genre genre of ‘females of all description’.
This incident brought my own thinking back to a subject I’ve been pondering over the past few years: that of Women’s Fiction. As regular 8LW readers might know, one of the writing tribes I proudly claim is that of WF writers. The manuscript I wrote for our Jennifer Crusie-taught McDaniel writing program was a WF story (with an ever-changing title) that has three women friends at its core. I have plans for two more books that I would categorize as WF, and another that might be more mainstream/general than women’s fiction, because it includes male POV characters, but that I still might consider WF because one of the female POV characters is really at the heart of the story. I belong to WFWA, have pitched my manuscript as WF, and plan to continue doing so.
But should I? Should I be so quick to align to a ‘catch-all’ genre about the female experience, with books written primarily by women? While I have sought out the camaraderie and intelligence of these fellow writers and have enjoyed being in a creative space that embraces the feminine and celebrates a female view of the world, have I been too quick to overlook the built-in bias that attaches to my work by being dropped into what, on its surface, appears to be a default category? Am I, despite my own yearning for gender parity and inclusiveness, hanging a ‘no boys allowed’ sign on my books? Continue reading