The Multi-Narrative International Research Association organized a panel for the ISSN Conference in Chichester titled “Multi-Narrative Genres and Boundaries.” The panel focused a central question that emerged from the Multi-Narrative Conference at Kiel: should we be thinking about multi-narratives as specific texts, narrative techniques, formal types, interpretive strategies, or something else entirely. Corinne Bancroft drew on Peter J. Rabinowitz’s conceptualization of genre to argue that the recent history of braided narratives offers an important case study that illustrates the mutually constitutive relationship between author’s choices and readers’ expectations in the formation of a genre. Liz Bahs explored the emergence of Dance Dance Revolution’s dual narratives and argue that the features that define the book distinguish it as a poetic example of a “braided narrative” a category previously used only to define a multi-narrative sub-genre of the novel. Jutta Zimmermann focused on Dionne Brand’s What We All Long For that marks the boundaries between local narratives with gaps, asterisks or other paratextual markers, which initiate a process where readers need to make sense of the disruption. Zimmermann connected these formal boundaries to the work’s thematic preoccupation, namely that of representing identities constituted by the straddling of cultural borders in post-colonial contexts.