In the sixties when modernism was impacting Taiwan expansively, feminine prose was rarely mentioned by traditional literature history, and key female writers were also ignored. However, with their avant-garde concepts, the female prose writers leaped over various literature genres, launched new possibility of prose writing, and eventually presented a significant turning point for feminine literature in the 60’s. Feminine prose in the 60’s was characterized by coexisting; i.e. heterogeneous voices and meanings of generation transformation coexisted. Following the soft feeling track from popular writers such as Chang Shou-Ya, the young female writers were mostly the second generations immigrated from mainland China. Due to going abroad too early or beginning to write prose at a later stage, writers such as Chien Wan, Jing Ji, Chen Shau Tsung and Chiang Yun were neglected. Dan Fei and Chen Ko Hwan followed the road of journalism for knowledge of variety, caring about contemporary politics and society in response to the female posture. Nevertheless, Chao Yun, Chang Ling Ling and Lee Lan developed a turning point between modern and traditional literatures by contrast to the “May-Fourth new literature revolution” although their works were not so many. Chao Yun’s prose was filled with an overriding spirit between experimental movies and novels, while Chang Ling Ling’s prose responded Yu Kwang Chung’s new ideas of prose with poem-styled feelings. Moreover, Lee Lan’s prose appeared to be sequenced by space-isolated modernism from Chang Ai Ling. Under the waves of sweeping modernism, these female writers eventually conducted literature styling experiments by ways against the mainstream styles.