Chi Li and Fang Fang are two powerful women writers in the "New Realistic Novels". They are both Chinese women writers, but their creations show great differences due to different staring angles. As far as the text features are concerned, Chi Li is a popular writing mode, while Fang Fang always shows his unique literati interest with a detached attitude; In terms of internal meaning, Chi Li created a simulation of life, while Fang Fang was carefully constructing a cultural realism. In the mode of life, Chi Li embodies an indomitable and vivid understanding of life, while Fang Fang shows people's deep spiritual confusion under the harsh background of the times and the social ideological trend of quick success and instant benefit. Fang Fang's and Chi Li's works not only have the common features of "new realistic novels", but also have their own distinctive features. Compared with the traditional realistic novel creation, their novels, both in ideological connotation and narrative style, provide a useful reference for China's contemporary novel creation with their own unique creation. Fang Fang and Chi Li are both important representative writers of "New Realistic Novels". It is undoubtedly of great significance for China's contemporary novels to study their distinctive colors within the framework of "New Realistic Novels". 1 shows different characteristics in ideological connotation. Fang Fang's novella "Landscape" can be regarded as the foundation stone of the new realistic novel. Chi Li wrote an original ecological novel which is different from the traditional realistic style. From the subtle point of view, it makes people feel cold and warm. Even if it is a matter of life lock, Chi Li's writing has a special taste. There are no fantastic ideas in her novels. In her more successful works, she didn't even use the usual method to attract readers' curiosity by telling strange stories in realistic novels. She just intercepted a paragraph in her life and described it with simple but fresh brushstrokes. This is the truth-the original life, the original troubles, the truth of life is far more touching than the fictional events in the novel. Chi Li is regarded as a master of "new realism". Neo-realism emphasizes the expression of the primitive form of life, with little emotional input and subjective imagination of writers, and opposes artificial whitewashing and exaggeration of reality. Chi Li's novels highlight the process of life, emphasize the meaning and artistic conception of the process itself, restore life, avoid the shadow of rational generalization and avoid the "deep mode" of various habits. She didn't mean to tell us anything, just let us "look". What she "tells" is always limited, but in the process of tracing life truthfully, it can arouse our complex and unspeakable life feelings and unify the secrets of history and life. Chi Li is better at expressing the family life of citizens, reflecting the world and human feelings, the life pressure and mental psychology of the lower class; Tracing back to the source downstream also reflects and contains social, political and historical significance. Chi Li is a realistic writer, and her "newness" lies in the observation perspective, that is, a new view of reality. There is no opposition between "heroes" and "ordinary people", and there is no transcendental "sacred" principle and spiritual will. In Chi Li's novels, there is no real "realism" without secular life. Without the fate of ordinary people, their life course, basic needs, desires and puzzles will lose their universal significance. Chi Li doesn't take a cold and critical attitude towards citizens' life and cultural psychology, but first fully understands the expressions of sympathy and respects their life attitude and fun from the reality of the lower class, which also contains the healthy vitality and simple emotions of human beings. Fang Fang's novels belong to "realism" which is different from previous realism. In her works, she pays attention to the restoration of life, and describes the life background, life features, life pulse and sexual desire of ordinary people in a "real" natural state, showing a naturalistic face. In narration, the author is calm and objective, avoiding subjective intervention in the subject's emotions. However, in terms of expression techniques, she does not reject modernist techniques (such as absurdity, surreal atmosphere, narrative angle, narrative tone, etc. Scenery and other novels), so her novels have a broader field of artistic expression and modern significance. Fangfang's novels are rich in cultural connotations, which makes her works transcend the unchanging time and space boundaries and have universal aesthetic significance. This is completely different from the situation where the real background is overwhelmed. The charm of Wuhan regional culture, humorous "China" language, humanistic customs, people's living habits, personality hobbies and so on all make her novels more artistic and aesthetic. In addition, Fang Fang also has the ability to create an artistic atmosphere of tragicomedy, which makes her novels both comic and tragic. Her early novels are comedic, while her later works are tragic.