The Quiet Feminism of Chick Lit
I’m a writer. A novelist, to be precise, which was always a dream of mine. Ever since childhood, reading has brought a crazy amount of joy into my life. Books were an escape - firstly in the form of Enid Blyton’s Famous Five adventures and later through the cult (and with hindsight incredibly problematic) Sweet Valley series. These were the gateway drug, the precursor to the books I’ve greedily devoured over the past twenty-five years.
You’re probably familiar with the term ‘chick lit’. It’s long been used in a derogatory fashion by the publishing industry and mainstream media to describe commercial contemporary fiction written and read predominantly by women. That’s what I read. That’s what I write. These novels don’t get considered by the authorities who award The Booker Prize. They’re rarely found on the literary front tables in Waterstone’s store across the UK. That these books are also described as ‘fluff’, ‘light reads’ and ‘guilty pleasures’ tells you everything you need to know. Chick lit doesn’t command respect.
But…and it’s a big but…romantic fiction sells. Fans of the genre read voraciously and with great loyalty towards their favourite authors and characters. Sophie Kinsella (creator of the Becky Bloomwood ‘Shopaholic’ series, turned into a film starring Isla Fisher) and Marian Keyes (whose Walsh family series continues to go from strength to strength) have been writing page-turning, humorous novels about characters with true-to-life issues since the 1990s and remain amongst the most popular writers of the genre. With romance titles boasting eighteen percent of adult fiction market sales and forty-seven million units sold in the twelve months leading up to March 2021, it’s obvious the comfort of a ‘happily ever after’ still holds appeal with readers. So, what exactly is it that keeps chick lit and the wider romantic fiction genre riding high in spite of its criticisms?
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I approached Jeevani Charika, author of ‘Playing for Love’, to ask why chick lit prevails. She puts the popularity of chick lit down to the heroine always winning. ‘Unlike the old-style romances from the 80s, modern chick lit heroines don’t have to give up everything in favour of having a man and 2.4 children. They have careers and families and dreams. Chick lit novels tackle issues women face every day and give us hope, optimism and sometimes suggestions on how to get there. What could be more feminist than that?’
Rachel Dove, author of titles including ‘The Chic Boutique on Baker Street’ and ‘Meet Me at Fir Tree Lodge’, agrees. ‘Feminism is more present than ever [in chick lit] in 2022,’ she said, when I questioned her about the enduring appeal of the genre. ‘A heroine saves herself these days, the hero just supports her or moves the heck out of the way.’
Personally, as an author of chick lit and long-term reader of books that fall into this category, this portrayal of resilient, determined women is what draws me back time and again. These books are anything but the light, cheery reads they’re so often sold as. When I feel defeated, losing myself in a story about someone like me sticking it to the man is inspiring. Jeevani Charika is right when she says these books can guide us towards our goals.
The protagonists are role models, learning to overcome obstacles in their lives and boosting our own self-belief in the process. The women in the chick lit novels I’ve written are steering their own ships, whether that’s as a businesswoman who owns a café (Maggie in ‘The Café in Fir Tree Park’) or rebuilding her life after the loss of a partner (Leanne in ‘How to Mend a Broken Heart’). My novels aren’t unique. Far from it. Chick lit is bursting with women facing the challenges of modern life – depression, caring for elderly relatives, stress, domestic violence – head on. Sensitive, challenging subjects are as much a part of these novels as they are a part of reality.
That doesn’t mean chick lit books are downbeat. They are often full of joy and humour. Striking the balance between tackling difficult topics and raising a smile from the reader is a much-needed skill for authors of chick lit. Which is one in the eye for misogynists who don’t think women are funny, because these wordsmiths are magic, moving deftly from heart-crushing moments to slapstick humour in a single paragraph. A lot is hidden behind those pastel covers.
To me this shows it's not only the characters in chick lit who are inspirational, but the authors are too. Many are prolific, writing two or more books a year to satisfy their devoted readers. Quite the workload, especially when you consider they often have part time (or full time) jobs alongside their writing, as well as families, homes, and other commitments. Women authors who self-publish are in control of their careers, taking on everything that goes hand-in-hand with writing as a job – hiring editors/proof-readers and cover designers, marketing and branding, accounting and so much more besides. Those published traditionally continue to prove the value of women to the industry (which is still dominated by male CEOs) as a whole.
“Chick lit has value, so next time you’re reading one of these novels, don’t hide it away on your Kindle or save it for when you’re lounging in the bathtub. Show off the cover on your tube ride into work.”
Put simply, chick lit is the bookish equivalent of a romcom film. At surface level it can seem superficial but delve deeper and these tales are crammed full of morals, determination, and resilience. Yet romcoms, although viewed as cheesy and light-hearted, aren’t belittled in the same way as chick lit. Could this be because the biggest names in the romcom business are male? Perhaps this is too simplistic a statement, but why are screenplays written by Richard Curtis more palatable to wider society than books by bestsellers Jane Green and Jenny Colgan because commercial art created by a man is more highly revered? Not to mention that, as well as being told through the male gaze of the writer/director, the lead characters in many successful rom coms are also male (and, let’s face it, usually played by Hugh Grant).
Chick lit has value, so next time you’re reading one of these novels, don’t hide it away on your Kindle or save it for when you’re lounging in the bathtub. Show off the cover on your tube ride into work. Recommend your favourite titles to a friend who needs a pick-me-up. Think of the fictional women killing it between the pages and how empowering they can be. Think of the woman who spent a year writing and editing the novel and how grateful she is for your support. Feminism in chick lit might seem quiet for now, but let’s shout louder. Together we can raise the platform of commercial fiction to the level it deserves.
Words: Katey Lovell
