In the mid-1980s, Russian women's literary creation rose strongly, forming a group phenomenon that echoed the Silver Age. The nine collections of works published between 1989 and 1993 marked the starting point of contemporary Russian women's literature, showcasing commonalities in style and themes. For over 30 years, the creation of female writers has become an important part of the literary process, changing the gender composition ratio and becoming equally important as male writers. The creation of women's literature has undergone changes in themes, narrative spaces, and styles, reflecting the evolution of female consciousness.

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In the early 1930s, socialist realism became a principle of literary creation, leading to the gradual disappearance of women's issues in literature. Around the 1970s, works such as Balanskaya's "Week After Week" began to focus on themes of women's daily lives, such as conflicts between work and family, and multiple social roles. After the collapse of the Soviet Union in the 1990s, the emotional state of women's novel creation plummeted, and the image of the female protagonist changed from being restrained and strong to being aggressive and masculine, focusing on the survival difficulties and struggles of women. In the 1980s and 1990s, women's literature focused on private and intimate themes, subverting the sexless texts in Soviet era literature. After the 21st century, the themes of female novel creation have diversified, focusing on personal, family, national history, ethnic issues, intellectual fate, cultural memory, etc. Female writers occupy an important position in the literary world. The works of writers such as Ulitskaya, Rubina, and Yasina have broadened the connotation of women's literature and enriched the appearance of contemporary Russian literature. Their works go beyond gender dimensions, focusing on the spiritual traits, human radiance, cultural traditions, and historical memories of characters. They write about 20th century Soviet historical events and social and political environments from a female perspective, showcasing reflections on the relationship between people and the world, spiritual growth, and minority identity recognition.

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Explored the characteristics of spatial shift in Russian women's novel creation since the 1980s. Unlike the grand spaces such as concentration camps, prisons, and armies depicted by male writers in the 20th century, contemporary female writers have begun to pay attention to narrow spaces such as hospitals and tube houses, which have become the main places for women's lives and reflect the marginalized status of women in national and gender relations. Hospitals are not only places where women pay attention to their individual experiences and physical sensations, but also have powerful metaphorical energy. The enclosed spaces such as tube houses reinforce the dual marginalization of women. However, in the mid to late 1990s, these spaces gradually faded away, and female writers began to explore broader narrative spaces.

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In the 1980s and 1990s, there were three styles of female fiction creation in Russia: new naturalism, new sentimentalism, and postmodernism. The new naturalistic style focuses on physiological phenomena and experiences, directly recording natural details, showcasing women's psychological and spiritual pain, and breaking free from the constraints of socialist realism. The new sentimentalism style focuses on the emotional realm, depicting female desires and instincts, using first person narrative and cultural prototypes to confirm the vitality and self-awareness of women. The postmodern style uses intertextual and collage techniques to blur the boundaries between high and low, elite and popular literature, but the influence of female writers in this style is limited.