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For the purpose of bidding a position in the male-dominated world， female writers are obliged to convey their ideas via the naturalistic writing style which is the mainstream and the prevalence in that certain era. In the naturalistic writings characterized by linear and clear plotting， those feminists tactfully interwove their concerns and their ideology in a sophisticated and strenuous way.
The first is the blurring， circling or rounding of the passage of plot. There is no doubt that a naturalistic writing spots an inevitable downward slide of things. As to the female writers， they add some landings or rest levels during the process of sliding down. With the appearance of these “landings”， the plotting is impeded， yet the downward slide is unimpedable. These blurring， circling or rounding of plotting can be proof of women’s attempt to distinguish their writing from that of males’. Their writing resists the melodramatic encounters and refuses climax. In times of intensity in plotting， the feminists writers usually halt abruptly and extend further in the narrative description of things tensely or loosely relevant to the development of plot. Blurring the plotting， they also mergers time. This technique punctuates the smooth heading forward of the plot， on the one hand. On the other， readers are suspended due to the delay， which like anticipation， is itself a pleasure no matter in life or in narration.
Secondly， in their writings， they can represent otherness without ceasing to be themselves. Feminists give their characters the strong wish to be something or somebody they couldn’t be in reality. Although this kind of struggle is at the outset futile and hopeless， they are entitled the right to undergone the process. Otherness is， in a certain sense， the freedom of choice. Feminists can choose freely what they want to represent through the vehicle of art， and it is only in art could otherness and oneself be realized altogether. Then， the self means more. If otherness is the freedom of choice， it is comprehensive， and all-inclusive； and the self， compared with otherness， like the blurring of plotting， is indefinite and obscure. The realization of self is bounded with otherness in a huge sense. Therefore， feminists writers struggle between illusion and reality. The illusion， which is attainable only in art， and which is precious due to its transience is disturbed by the intrusion of reality.
Thirdly， certain motifs are applied in the feminist writings， like the motif of mother and child. Like a waving hand， it beckons on the feminists. In their writings， some mysterious and seductive forces unveiled themselves at last to be the feeling of a child in the caresses of a mother’s arms or back into mother’s womb， a place of pure exaltation and security. Another favored motif is nature. Like the sea， the love for the pastoral beauty and its extensiveness also has the magnetic effect for the freedom of women. As if in the realm of nature， women finally found its own place， a place of posterity and prosperity.
All these techniques can well explain feminists’ anger and annoyance ignited by the existing social norms. Virginia Woolf’s writing style is a case in point. In her work， A Room of One’s Own， she was asked to say something about woman and fiction， as what she said at the beginning of this work. Yet， she dodged and circled without getting to the point. Or you may see， without directly hitting the point. This type of writing style annoys the readers sometimes. While comparing it with the antagonism and treatment women received from the society， one may well understand it. The train of thought is casually disturbed by others， the juggling of housework， social status quo of women， child-birth and child rearing. When their works are not given the due attention， when they are criticized for meddling with the things which is beyond their comprehension， and when they tended to give in under such stress， their winding arrangement of works speaks for their minds.
The first is the blurring， circling or rounding of the passage of plot. There is no doubt that a naturalistic writing spots an inevitable downward slide of things. As to the female writers， they add some landings or rest levels during the process of sliding down. With the appearance of these “landings”， the plotting is impeded， yet the downward slide is unimpedable. These blurring， circling or rounding of plotting can be proof of women’s attempt to distinguish their writing from that of males’. Their writing resists the melodramatic encounters and refuses climax. In times of intensity in plotting， the feminists writers usually halt abruptly and extend further in the narrative description of things tensely or loosely relevant to the development of plot. Blurring the plotting， they also mergers time. This technique punctuates the smooth heading forward of the plot， on the one hand. On the other， readers are suspended due to the delay， which like anticipation， is itself a pleasure no matter in life or in narration.
Secondly， in their writings， they can represent otherness without ceasing to be themselves. Feminists give their characters the strong wish to be something or somebody they couldn’t be in reality. Although this kind of struggle is at the outset futile and hopeless， they are entitled the right to undergone the process. Otherness is， in a certain sense， the freedom of choice. Feminists can choose freely what they want to represent through the vehicle of art， and it is only in art could otherness and oneself be realized altogether. Then， the self means more. If otherness is the freedom of choice， it is comprehensive， and all-inclusive； and the self， compared with otherness， like the blurring of plotting， is indefinite and obscure. The realization of self is bounded with otherness in a huge sense. Therefore， feminists writers struggle between illusion and reality. The illusion， which is attainable only in art， and which is precious due to its transience is disturbed by the intrusion of reality.
Thirdly， certain motifs are applied in the feminist writings， like the motif of mother and child. Like a waving hand， it beckons on the feminists. In their writings， some mysterious and seductive forces unveiled themselves at last to be the feeling of a child in the caresses of a mother’s arms or back into mother’s womb， a place of pure exaltation and security. Another favored motif is nature. Like the sea， the love for the pastoral beauty and its extensiveness also has the magnetic effect for the freedom of women. As if in the realm of nature， women finally found its own place， a place of posterity and prosperity.
All these techniques can well explain feminists’ anger and annoyance ignited by the existing social norms. Virginia Woolf’s writing style is a case in point. In her work， A Room of One’s Own， she was asked to say something about woman and fiction， as what she said at the beginning of this work. Yet， she dodged and circled without getting to the point. Or you may see， without directly hitting the point. This type of writing style annoys the readers sometimes. While comparing it with the antagonism and treatment women received from the society， one may well understand it. The train of thought is casually disturbed by others， the juggling of housework， social status quo of women， child-birth and child rearing. When their works are not given the due attention， when they are criticized for meddling with the things which is beyond their comprehension， and when they tended to give in under such stress， their winding arrangement of works speaks for their minds.