Besides essays on feminism and academic works on poets such as Giorgio Caproni, Franco Fortini, and Amelia Rosselli, she wrote plays, radio-dramas, a television show on Petrarch, and a novel.

[7] During the late Sixties and the Seventies, she developed strong personal and intellectual connections with artists and writers based in Rome such as Alberto Moravia, Dacia Maraini,[8] Amelia Rosselli,[9] and Dario Bellezza.

[15] Critics such as Stefano Giovanardi argue that Frabotta's poetic language has evolved from an initial experimentalism to a more cohesive, recognizable voice developed towards the end of the millennium.

Such a transition, in opposition with the mainstream tendencies of European postmodernism, led her poetry to a style that is, at the same time, harmonically classical and yet marked by sudden stridencies, rhythmic gaps, and unexpected turns of the imagery.

According to Keala Jewell: "Frabotta weaves into her female poetic web the fragments of a tradition in which, as a literary scholar, she is steeped yet which she also refuses.