By 1980 Godwin's writing had become the subject of essays, book chapters and other literary analysis from academic critics.[1] According to The Washington Post, "Gail Godwin has been accused of not being able to decide whether she's a popular or a literary writer, but she's certainly accrued enough bestsellers and literary honors to claim both identities."[51] Much of the scholarly attention on her works comes from those critics with an interest in southern or feminist authors.[12] According to Contemporary Fiction Writers of the South, Godwin's books have been "widely and favorably reviewed".[1] Contemporary American Women Fiction Writers states that "although some reviews of her work have been mixed ... her books are accomplished works of fiction, if not masterpieces."[12]
Contemporary Literary Criticism said "most of her books are characterized as well-written, well executed, readable, witty, and having vivid, believable characters.[19] Godwin is typically praised for having convincing plots,[12] witty, intelligent characters and that she has strong narrative skill.[1] She has been criticized, in particular in response to The Good Husband, for excessive symbolism.[12] According to the Dictionary of Literary Biography, Godwin is "thoughtful and philosophical", but she is often critiqued for authoring fiction that is so closely representative of her own life.[3]
The Odd Woman, The Finishing School and Southern Family received overall positive reviews, while Violet Clay and The Good Husband received more negative reviews.[19] According to The Boston Globe, Flora was one of Godwin's best books.[52]
