台灣重要報紙《聯合報》自1976年舉辦小說獎徵文以來，為傳媒公器在文學生產及議題演繹上做出了良好的示範，八○、九○年代女性作家紛由民間媒體創辦的文學獎崛起，創造了台灣女性小說的文藝復興時期，一般咸認媒體扮演了推波助瀾的關鍵角色，在此前提下，本文首先根據此獎項成績，梳理八○年代初至世紀末得獎作品，參照三位女作家袁瓊瓊〈自己的天空〉、曹麗娟〈童女之舞〉與張瀛太〈西藏愛人〉《聯合報》小說獎得獎作品，勾勒一張女性出走書寫光譜，巧合的是三位作家分從家庭、性別、身分認同出走，建構出女性出走的三大面向，準此，女性出走不僅成為當代小說議題，也透過比較與前代女性作家有了書寫上的縫合；在另一層次上，三位女作家既發動了議題性，後續並未停止，三者都以自身事件回向媒體，不無與新時代媒材結合操作媒體效應意味！本文主要釐清與論證女性出走／回來的癥結，以及她們會不會回來與如何回來並兼論小說獎的媒體效應。

As a significant newspaper in Taiwan, United Daily News shows as a good model for the public press on both literature production and issue elaboration. In this sense, since most female writers rising from its Literary Awards in 80's and 90's, United Daily News is generally acknowledged as the crucial role which promotes the renaissance of the Taiwan female fiction-writing. Therefore, based on both the effort and the effect of Literary Award, this paper would approach the prizewinning works, including Yuan Qion-Qiong's ”A Place of One's Own”, Tsao Li-Chuan's ”The Dance of the Virgin”, and Chang Ying-Tai's ”Romance in Tibet”. These stories sketch varied female fleeing and writing spectrums counterpartially while the three writers respectively flee from their conditioned family, gender, and identity, which also stands for three dimensions of the female fleeing. According to this observation, an issue of women fleeing not only turns into an essential subject in fictions but exemplifies itself as the self-effect towards both literature and writing. So this paper would focus on the female characters in these specific fictions which cross 20 years of prizewinning works, firstly pondering on how to flee from different conditions, dissecting and demonstrating the complex between fleeing and returning of women, and finally proving whether women shall return and how to.