Short story cycles can satisfying a reader's need for deeper engagement and Rebekah Clarkson's Barking Dog is a great example.
Key to the success of the much-lauded Fleabag is its creator's repurposing of two cliched narrative devices: flashback and breaking the fourth wall.
In the popular Australian TV series Wentworth, the setting of a women's prison is a pressure-cooker for drama. The setting also allows for greater representation of diverse female characters.
Ryan O'Neill's book reimagines a classic Australian short story. He retells The Drover's Wife 99 times in various forms, including a poem, an Amazon review, and even as a Cosmo quiz.
At the centre of the novel Coach Fitz is Tom, an anti-hero whose unintentionally humorous voice drives the narrative. Tom is an awkward everyman, a naïve Don Quixote, a digressive Tristam Shandy.
The omniscient narrator is alive and well in fiction. Kim Scott's most recent novel uses a collective narrative voice that encompasses the landscape as well as the human.
True crime-related storytelling has shrugged off its former low-brow baggage. Two recent Australian books show how victims' stories can be told sensitively and humanely.
Writing episodic TV, scriptwriters traditionally work from a principle of having three stories woven together through an episode. These are known as the A story, the B story and the C story.
In her fragmentary family memoir, Cynthia Banham interweaves narratives of war and migration with her own traumatic plane crash - ultimately reclaiming her identity in the process.
Stephanie Bishop's latest novel demonstrates a sophisticated approach to the relationship between time and narrative: novelists and aspiring writers would do well to look closely at her achievement.
The Merger draws on the conventions of the sports film to explore and challenge attitudes towards refugees in Australia.
Part memoir, part investigation, Leigh Sales's recent book Any Ordinary Day provides rare insight into the journalistic craft.