Contemporary Chinese literature can be divided into several regional categories: mainland literature, Taiwan literature, Hong Kong literature, and Macao literature.

The first stage (1949–1966) of contemporary literature in mainland China refers to the literature written before the Cultural Revolution (1966–1976)­. Frequent political movements in the mainland took place during the 1950s and 1960s. At that time, the writings of the intelligentsia basically catered to political needs. However, there were some writers who had not totally lost their voices. The themes of their writing focused mainly on modern history and agricultural cooperation. Representative writers are Yang Mo (1914–1995), Zhao Shuli (1906–1970), Zhou Libo (1908–1979), and others. The second stage (1966–1976) of contemporary mainland literature is that of the Cultural Revolution. During that time, Chinese culture experienced unprecedented catastrophe. Art was completely reduced to a tool of political struggle. However, there were still many underground and folk writings by intellectuals; this demonstrated the undying vitality of the intellectuals. With the emergence of the so-called “scar literature” (literally “literature of the wounded”) in 1978, contemporary writing in mainland China entered a new era (1978–2000) of post-Cultural Revolution literature. In order to cooperate with political demands, the main goals of literature in the 1980s were “to bring order out of chaos,” to aide recovery and calling for a literature of self-awareness. The literature in the 1990s diversified as seen in the many literary trends. These trends include “scar literature” (works about the Cultural Revolution), “misty poetry” (modernist-style poems), “flowers re-bloomed literature” (writers who experienced misery and hardship during the Cultural Revolution, and were rehabilitated afterwards), “educated youth literature” (writings focused on youth life), humanistic literature (writings that explored human awareness), modernist literature (writings inspired by Western existentialism), “root-seeking literature” (writings inspired by a cultural craze in the 1980s), idealistic folk literature (writings about restoring ideals and beliefs among the people), “pioneer novels” (which experimented with new narrative formats), neo-realistic fiction (writings emphasizing that the meaning of life was loftier than ideals), “new generation poetry” (anti-misty poetry), and others. Representative writers are Lu Xinhua (1954–) for “scar literature”; Shu Ting (1952–) and Gu Cheng (1956–1993) for “misty poetry”; Wang Meng (1934–) and Zhang Xianliang (1936–1914) for “flowers re-bloomed literature”; Shi Tiesheng (1951–2010) and Wang Xiaobo (1952–1997) for “educated youth literature”; Dai Houying (1938–1996) for humanistic literature; Zhang Jie (1937–) and Liu Suola (1955–) for modernist literature; Ah Cheng (1949–) and Li Hangyu (1957–) for “root-seeking literature”; Yu Hua (1960–) and Mo Yan (1955–) for idealistic folk literature; Ge Fei (1964–) and Su Tong (1963–) of “pioneer literature”; Chi Li (1957–) and Liu Zhenyun (1958–) of the neo-realistic fiction; Haizi (1964–1989) and Xi Chuan (1963–) of the “new generation poetry.”

Taiwan literature can be divided into two periods: the Japanese occupation and the Kuomingtang (KMT-Nationalist Party) periods. Taiwan fiction emerged in the 1920s; writers such as Lai He (Loa Hua, 1894–1943), Yang Shouyu (Yang Shou-yü, 1905–1959), and Yang Kui (Yang K’uei, 1906–1985) created outstanding literary works by using both Chinese and Japanese. After the anti-Japanese war, in the 1950s, writers advocated novels with anti-communist themes. Important works include Pan Renmu’s (P’an Jen-mu, 1919–2005) Lianyi biaomei (Cousin Lianyi) and Jiang Gui’s (Chiang Kuei, 1908–1980) Xuanfeng (Whirlwind). Beginning in the 1960s, Bai Xianyong (Pai Hsien-yung, 1937–) and others introduced Western modernist literature and techniques; novel writing was no longer controlled by ideology. In the 1970s, topics related to agriculture, industry, fishing, and mining were greatly valued. Representative writers were Wang Tuo (Wang Tuoh, 1944–) and Yang Qingchu (Yang Ch’ing-ch’u, 1940–). After martial law was lifted, almost all restrictions on writing were lifted. Political and erotic novels gradually became popular, as evidenced by their increasing numbers. Representative writers are Zhang Dachun (Chang Ta-ch’un, 1957–), Ping Lu (Lu Ping, 1953–), Qiong Yao (Chiung Yao, 1938–), and Gu Long (Ku Lung, 1938–1985).

Literature in Hong Kong originally had its own carefree tradition. After 1949, a large number of the intellectuals migrated to the south under the influence of the international cold war. Bought over by the KMT, these intellectuals added their voices to anti-communist propaganda, became active in writing, and trained a younger generation of writers. In the 1950s, Western modernist thought was introduced and literature embarked on a healthier path. In the 1970s, Hong Kong’s serious literature became even more internationalized. Markets for Hong Kong literature, movies, TV dramas, and popular songs became extremely prosperous, as these works suited the taste of both intellectuals and ordinary people alike. The representative writers were Ye Lingfeng (Yeh Ling-feng, 1905–1975), Luo Fu (Lo Fu, 1921–2014), and Liu Yichang (Lau Yee Cheung, 1918–). Compared with Taiwan and Hong Kong, literature in Macao was rather quiet. Among the various types of literature, poetry holds the leading position.

In addition to the mainland, Hong Kong, Macao, and Taiwan, the writings of overseas Chinese cannot be ignored. Overseas Chinese writers such as Bai Xianyong (Pai Hsien-yung), Nie Hualing (Hualing Nieh Engle, 1925–), Gao Xingjian (1940–), and Yan Geling (1957–), and Bei Dao (1949–) are all quite influential.