Taiwan popular fiction gained much attention in prewar during the Japanese colonial period; however, the academic community has not delved into its development from 1945 to 1949 in the early postwar period. In view of this, the paper explores this area based on the "writer theory" and "field theory", and finds that local writers such as Zheng Kun Wu(鄭坤五), Wu Man Sha(吳漫沙), Lin Wan Sheng (林萬生) , and Yeh Bu Yue (葉步月), who had been active before the war, continued to shine in the literary world with their new publications, serials, or reprints of old works after the war. As for the language of literary works, apart from Japanese and Chinese, they also used written-Taiwanese, and most of their works were published before 1947, showing the turning point in their development process. The popular magazine, Yi Hua(藝華) and the supplement "Bridge"(橋副刊) of Taiwan Shin Sheng Daily News(台灣新生報), were the top two important and popular print media during that time. Yi Hua was released at January 1946, and succeed to the prewar popular magazines Taiwan Art(台灣藝術) and Xin Da Zhong(新大眾). It propagated Three Principles of the People in response to the government's policy. Therefore, through Yi Hua, we can see the conversion of magazines in Japanese / Chinese literary field, their development from prewar to postwar, their continuation and breakage, and the difficulties of grafting popular fiction into China and Chinese culture through local Taiwanese writers or editors. From the literary debate on the "bridge" supplement, we can see that the word "popularity" had attracted much attention at that time. However, the debate focused on the literary trend and views of realism, and leaded to difficulties and challenges for promoting the popular fiction; for example, the famous poet, Lei Shih Yu(雷石榆) even criticized Taiwan popular fiction. Due to the circumstances, gradually Taiwan popular fiction lost its stage in the literary world in the early postwar period.