In the 1990s, folk writing, as a new poetic exploration and creative practice, became a confrontational force accompanied by intellectual writing. In folk writing, poetry writing should emphasize the objectification of local experience and narrative, pay attention to the colloquialism of language, and even re-liberate and rejuvenate the vitality of local dialects. At the same time, they are committed to dismantling the metaphorical structure and symbolic system formed in the historical development of poetic language and even all languages, trying to restore the original state of language and survival experience. As far as the concept of folk itself is concerned, in Yu Jian's view, folk and spoken language are equivalent, and it opposes rigid and standardized Mandarin. In Han Dong's view, the people became a position, an underground country and a peasant uprising. In Chen Sihe's view, the concept of folk means a prototype, an ultra-stable story structure, with the dual characteristics of rationalization and mystery. In the history of new poetry, Sha Yi, Xu Jiang and Hou Ma, the representative poets of folk writing, have mainly contributed to broadening the channels for "spoken language" to enter poetry, and at the same time, they have adhered to the boundary or bottom line of "spoken language" in poetry creation as much as possible. The opposition between folk writing and intellectual writing led to the emergence of the third way poetry group.
Representative poets: Hou Ma, Guan, Xu Jiang, A Jian, Nakajima, Yu Nu, Du Gujiu, Ma Fei, Qin Bazi, Li Wei, Li Mingpeng, Lu Xixi, Zhang Zhi, Tang Xin, Yan Ying, Song Xiaoxian, Ye Lin, A Xiang, Xu Baijian, Wei Jia, Jun 'er, Xiao Shen, Xie Xiangnan and Chen Yun.