This article uses Brian McHale’s interpretative model of postmodern change as a dominant shift, i.e. as a transition from epistemological to ontological poetics, to explore trends and developments in the fiction by Su Weizhen, one of the most prominent Taiwanese women writers to appear on the Taiwanese literary scene at the end of the 1970s and beginning of the 1980s, a period which witnessed the revival of women’s fiction in Taiwan. Firstly, I reexamine some of the basic characteristics of Su Weizhen’s earlier work and try to demonstrate what might possibly have directed it to the epistemological dominant of modernist literature. In the second part of the article, I trace the subsequent shift towards ontological poetics, described by Brian McHale as being a characteristic of postmodernist fiction in general, something which has been partly realized in Su Weizhen’s more recent works. This, however, is not to say that I wish to argue that Su Weizhen should be placed among the pantheon of modernist or postmodernist writers; rather, I would like to point out that by using McHale’s model to (re)interpret her works, we can arrive at some new elucidations and interesting insights into the development of Su Weizhen’s fiction (including both form and content), especially as regards her more recent works.