True Colors: A Novel

“Women’s fiction” is a term used to describe books that center on women’s experiences. These books are understood to be marketed toward female readers and cover a range of topics. Women’s fiction is distinct from “women’s writing,” which simply refers to writing written by women rather than for this demographic specifically. Romance is often considered central to women’s fiction. However, the Women’s Fiction Writer’s Association (WFWA) notes that books falling under this label may or may not include romance. Rather, the group argues that the defining feature of women’s fiction is “the protagonist’s journey toward a more fulfilled self” (“About WFWA.” Women’s Fiction Writers Association).

By this definition, Kristin Hannah’s writing falls under the umbrella of women’s fiction. Her books, including bestsellers like The Nightingale (2015) and Firefly Lane (2008), generally revolve around characters who are women and explore experiences unique to them. True Colors is no exception with its focus on the Grey sisters. Narrated mostly in close third person, the book switches between the perspectives of the oldest and youngest Grey sisters, Winona and Vivi Ann (the sole exception being Vivi Ann’s son’s interspersed journal entries). Moreover, the relationship between the sisters drives the story, and that relationship involves feelings and insecurities intertwined with women’s experiences. For instance, Vivi Ann’s beauty fuels Winona’s resentment of her younger sister, as Winona struggles with body image issues because of her weight. The intersecting themes of The Bonds of Sisterhood and Family Loyalty and The Effect of Insecurities on Personal Relationships are accordingly central to the book. In keeping with the WFWA’s assessment, character growth is also a driving force in the book; for instance, events in the second part of the book hinge on Winona growing out of many of her insecurities.

However, the term “women’s fiction” is not without criticism. Books labeled as women’s fiction are commonly viewed as less serious and complex than other genres (Kay, Liz. “What Do We Mean When We Say Women’s Fiction?” Literary Hub). The mistaken belief that all women’s fiction focuses on romance exacerbates this perception. Moreover, books written by women that feature female protagonists are often automatically categorized as women’s fiction, meaning that the question of genre is something that female writers “have to contend with far more than their male counterparts” (Hughes, Emma. “I Write “Women’s Commercial Fiction”—Why Is My Work Still Seen as Inferior to Men’s?” The Guardian, 2021). For instance, writer Emma Hughes observes that many critics resist labeling the work of authors like Sally Rooney “literary fiction” simply because Rooney’s books discuss young people falling in love (Hughes).

Hughes’s point is that the idea that such stories lack the complexity of other genres—and thus merit their own, separate category catering to purportedly less serious readers—is a problematic one. It both trivializes the talent and intelligence of female writers and dismisses the tastes of female readers as lacking substance or literary merit. True Colors testifies to the problem with a blanket label like “women’s fiction.” There is romance in the story, and The Enduring Power of Love is one of the central themes explored. However, the work also tackles questions of family loyalty, identity, and the dangers of prejudice and preconceived notions, displaying the range of possibilities within a genre that can be both ambiguous and limiting.