Thanks to Guillermo del Toro’s stunning new adaptation of Frankenstein, both new and longtime fans of Mary Shelley’s classic gothic novel are rediscovering her genius. Social media is flooded with gothic recommendations; however, what I find truly disheartening is that seemingly everyone is overlooking Mary Shelley’s other brilliant works.

That’s right. The woman who created one of literature’s most enduring monsters wrote much more than just Frankenstein; or, The Modern Prometheus (1818, revised 1831). She penned several other novels, including Valperga (1823), The Last Man (1826), The Fortunes of Perkin Warbeck (1830), Lodore (1835), and Falkner (1837). She even published a travel book with her husband, the Romantic poet Percy Bysshe Shelley: History of a Six Weeks’ Tour (1817).

Why Mary Shelley’s Other Works Matter

4 Writing Techniques You’ll Learn from The Invisible Girl

Mary Shelley’s The Invisible Girl is packed with writing techniques that any aspiring writer can study and apply. Here are four craft elements that make this short story worth your time:

1. Building Suspense with Extended Paragraphs

Shelley uses lengthy paragraphs strategically to build suspense and draw readers in. Think of it like ascending a roller coaster: first comes the setup, then tension builds gradually as each sentence adds key details and raises questions. Finally, just as suspense reaches its peak, Shelley delivers a sudden revelation, transforming anticipation into powerful emotional impact.

Near the story’s conclusion, one particularly powerful paragraph spans 662 words, eleven percent of the entire short story. The paragraph begins by explaining Henry and Rosina’s childhood companionship, growing love, and quiet happiness. Their world feels safe and romantic, filled with hope. Then, without warning, the tone sharply shifts when Sir Peter’s malicious sister, Mrs. Bainbridge, arrives and forces Henry’s departure.

Shelley also knows when brevity matters. Short paragraphs appear only for dialogue or transitions, like when Vernon weeps over missing Rosina. The transition between scenes is short because the sleeping arrangements add nothing to the story, so she doesn’t waste words.

2. Symbolism as Character Development

Shelley establishes the tower as a symbol for the antagonist, Sir Peter, directly in the first paragraph. The tower is portrayed as a violent structure, with the word “war” appearing twice as it clashes with the natural landscape. In Gothic literature, buildings often represent more than physical structures. They embody emotions or entire characters.

This symbolic connection evolves throughout the story. After Sir Peter undergoes a redemption arc, both his portrait and the tower undergo corresponding changes. Like holding Sir Peter up to a mirror, the tower reflects this transformation. Through this technique, Shelley adds emotional depth while keeping the plot clear.

3. Social Commentary on Class and Gender

The title itself serves as a powerful commentary. The infantilizing term “girl” rather than “woman” reflects society’s diminishment of female agency, while “invisible” operates on multiple levels beyond mere physical concealment.

Throughout the story, Rosina exists primarily through others’ perceptions, defined entirely by competing narratives from side characters, while her own voice remains absent until the end. Even more damning, the story points out that the biggest reason Rosina suffers is that she’s part of the lower class.

Historically, in March 1753, Britain introduced a bill requiring parental consent for marriages, aiming to prevent secret unions between people of different classes. Rosina and Vernon find themselves trapped by these class boundaries, yet they’re dealt very different punishments. Vernon is allowed to leave to seek a new lover, while Rosina is physically imprisoned. Through this carefully chosen title, Shelley critiques the way women were rendered invisible by societal structures.

4. Framed Narrative Structure

Shelley employs a framed narrative, a story within a story. We first hear the narrator’s part at the beginning and end, wrapping around the main story of Vernon and Rosina like a picture frame. Shelley does something similar in Frankenstein, where Victor tells his story to Arctic explorer Robert Walton.

This framed narrative acts as a bridge, easing the reader into the story’s world. For a tale dealing with extraordinary elements, like invisible glowing women, this framing is essential. It grounds the strange events in believable reality, making the fantastical seem possible.

Why You Should Read Mary Shelley’s Other Works

Mary Shelley’s The Invisible Girl showcases writing techniques that work together to create Gothic horror with deep emotional and social commentary. Her technique of building suspense through long, detailed paragraphs mirrors the tension of real human emotions. Her symbolism offers character development and societal critiques. The framed narrative makes the tale feel immediate and unsettling.

Shelley’s powerful ability to embed complex themes inside engaging Gothic narrative proves why she remains a central figure not just in horror or Gothic literature, but in the broader tradition of stories that challenge the status quo. Her work reminds us that sometimes the most terrifying monsters aren’t supernatural but societal. So while you’re riding the wave of Guillermo del Toro’s Frankenstein buzz, don’t stop there. Pick up The Invisible Girl, explore The Last Man, or dive into Valperga. You’ll discover that Mary Shelley had so much more to say than just one story about a monster.