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The article focuses on fictional texts in sorting out the facts from the jargon, and offer practical ways in approaching transmedia creation in Australia. It describes transmedia as the development of fictional worlds and stories that are large, complex, and compelling than those which can be told in just one media format. It focuses on fictional narrative transmedia and provides its history and an introduction to developing transmedia narratives.

The article examines the use of extreme heights which can be an effective way in engaging students in the detail of filmmaking art in Australia. It examines the heights phenomenon with curricular filters in place including narrative conventions, cinematic storytelling and genre study. The author argues that the approaches should hint the versatility of the content which can be adapted for older and younger student groups which are fitted to films in a screening syllabus.

In this article the author discusses the need to change the approach to character and story development from the likely audience's point of view and response in Australian filmmaking industry. He mentions the significance of understanding how the audiences feel and engage with stories in changing the way writers learn to write stories. He talks about the questions needed to consider in writing stories which allows the audience to identify the character and the distinction of the acts in stories.

Discusses the challenges facing the Australian film industry. Film critics' attempt to question the direction of the country's national cinematography; Lack of ideas, inspiration and courage in Australian film; Shortage of inspiring scripts in the Australian motion picture industry.

The article offers updates on media-related events for teachers in Australia and New Zealand. It includes the national festivals and competitions such as the ATOM Awards 2010, the Robin Anderson Film Festival, and the Healthy Teen Bytes. It also lists the exhibitions of short films, outdoor cinema, and the courses in filmmaking offered by colleges and universities across Australia.

Presents various information resources, specifically books, Web sites, and computer programs that assist students and teachers in screenwriting class in Australia. Book "Notes on the Making of Apocalypse Now"; "The First Time I Got Paid for It"; "The New Screenwriter Looks at the New Screenwriter"; Australian Writers’ Guild; Australian Screen Directors Association; Government bodies; Publications.

Interviews screenwriter John Lonie. Problems with Australian films; Need for characters that are completely out of their comfort zones; Comparison with U.S. films; Problems created by writer/director collaborations; Importance of the script editor in refocusing the writer.

An interview with Australian comedian and writer Mick Molloy is presented. He mentions that he has completed the script of a documentary-like film. He states his views about playing an old man in the television comedy "The Jesters." He also gives opinion on comedy which, according to him, has a high degree of difficulty.

Presents the author's reflections on his career as a screenwriter in Australia. Ways in which completing a screenplay is both satisfying and unfulfilling; Author's lack of industry-specific training; Discussions with a feature film director that helped the author develop as a screenwriter.

The article profiles Australian-born screenwriter Nick Cave. It discusses the personal, academic, and career background of Cave. The 48-year-old writer shares his thoughts about his inspirations for becoming a scriptwriter, the themes of his scripts and his approach to screenwriting. His scripting debut "The Proposition" was directed by his friend John Hillcoat. The pair are working on a second project named after the Leonard Cohen song "Death of a Ladies' Man." INSET: Vital stats.