Conradian narrative is not only exceptionally sophisticated and varied but also remarkably productive thematically. In common with all major writers, Conrad's fictional content is inextricable from narrative presentation. To make this point is not to regard the concept of content as unimportant. It is to stress that the rhetorical persuasiveness, ideological tension, dramatic intensity, and continuing interest and relevance of Conrad's fictional vision depend upon and are indeed generated and shaped by diverse and original narrative techniques. It follows that a discussion of Conradian narrative is a substantial critical venture. This treatment will focus on a selection of particularly important constituent aspects of Conrad's narrative strategies. Progressing chronologically, it ranges over most of Conrad's major works and concludes with a consideration of the thematic significance of Conradian narrative.

Even though the dramatic intensity and thematic suggestiveness of Conradian narrative can vary considerably from work to work, there is no direct or obvious correlation between narrative success and date of composition in Conrad‘s fiction. Although the artistic quality of the fiction subsequent to Under Western Eyes generally deteriorates, texts such as Victory, ‘The Tale’, and The Shadow-Line are notable exceptions. More importantly, Conradian narrative matured very rapidly. In Almayer‘s Folly, Conrad‘s first novel, the narrative presents not just the main action revealing Almayer‘s inglorious situation and futile dreams, but also a covert plot centred on Abdullah‘s schemes to eliminate Almayer as a trading rival. While supporting the main plot‘s characterization of Almayer, this covert plot also, as we are more likely to discover on a second rather than a first reading, precipitates its outcome (Watts, A Preface to Conrad, p. 119).