The analysis of literary influence has a long history (e.g. Bloom, 1973) yet has received new attention occasioned by the arrival of new computational techniques. Stylometric analysis has been used successfully to analyse different kinds of collaboration in writing and translating. Whereas in collaboration contributions are more concrete and measurable, influence is more diffuse and more difficult to prove. In this paper, we investigate reviewer Carrie O’Grady claim that Christina Dalcher, whose work explicitly flaunts Atwoodesque themes, jumps ‘on the Handmaid’s Tale bandwagon’ (O’Grady 2018). An earlier, related study investigated the mutual influence between Margaret Atwood and Naomi Alderman, which could be the effect of their Rolex Mentor and Protégé collaboration (Coady 2013) during 2012–13. Based on our computational measurements of a selection of sf, speculative and/or dystopian novels written by women between 1976-2024, we indeed see that, rather than merging into a newly unique, blended or averaged style, Atwood’s and Alderman’s work reflects a sustained, reciprocal aesthetic exchange. Our analyses of Christina Dalcher’s novels VOX and Femlandia show that her work aligns itself with a broader field of speculative fiction rather than with either Atwood or Alderman. The analyses also show that she has a style that is different and distinct. To understand if genre is not a deciding factor in these results, two further experiments find Dalcher amongst the literary fiction, and not amongst the popular, Crime or Romance novels. Yet, she is not close to Atwood and Alderman. Although a superficial reading of Dalcher’s work might make it seem she is a copycat of Atwood (and Alderman), we do not find evidence of stylistic convergence, or even imitation. Dalcher has, though perhaps thematically inspired by Atwood (and Alderman), carved out a literary space of her own.