Metnin üretim sürecinin sağlıklı bir şekilde ortaya çıkarılabilmesi için anlatıcı ve bakış açısı kadar üzerinde durulması gereken unsur, roman ve hikâye gibi anlatıların vazgeçilmez yapı taşları olan anlatım teknikleridir. Teknik, edebî metnin üretim ve ifade aracı olduğu gibi biçimin özgün bir forma dönüşümünü sağlaması bakımından da önemlidir. Hikâyenin estetik bir yapıya bürünmesini sağlayan teknik, yazarın hikâyesini belli bir ritm ve tarzda okuyucuya nakletmesine imkân sağlar. Çalışmada, Leylâ Erbil ve Mustafa Kutlu'nun hikâyelerinin oluşum süreci ve kurguyu oluşturan organizasyon şeması "teknik" üzerinden açıklanmış; eldeki verilerle her iki yazarın hikâyeciliğinin başat yönleri tespit edilmeye çalışılmıştır. Tekniklerin kullanılış amacı, kurgu içindeki fonksiyonu ve kullanılma sıklığı üzerinde durulmuş; tekniklerin kullanımındaki benzer ve farklı yönlere de değinilmiştir. Leylâ Erbil, hikâyelerini ağırlıklı olarak bilinç akışı, iç monolog ve geriye dönüş teknikleri üzerine kurgular. Bu teknikler, hikâyelerin ana karakteri olan kadın anlatıcıların kendilerini ifade etme aracıdır. Kadınların iç dünyaları; bunalım, yalnızlık, anlamsızlık ve yabancılaşma gibi duygularla kaplıdır. Kadın anlatıcıların iç dünyalarındaki parçalanmışlık/bölünmüşlük, yıkıcı bir biçimde dilsel bozulmalara ve yazarın birçok hikâyeyi üzerine kurguladığı bilinç akışı ve iç monolog gibi tekniklerin uç noktalara taşınmasına ve yıkıcı bir forma dönüşmesine neden olur. Mustafa Kutlu'nun hikâyelerinde ise kurgunun oluşumu "çerçeve hikâye"ler üzerine kuruludur. Kendi içinde bağımsız ancak ana olayın bir parçası olan her bir hikâyenin üretimi farklı anlatım teknikleriyle gerçekleşir. Bu yüzden hikâyelerin ritmi/temposu, tekniklerin kullanım sıklığı, zamanın hızlandırılması ya da yavaşlatılması anlatıdan anlatıya farklılık gösterir. Meddah tarzı anlatıcının aktarımıyla vücut bulan hikâyelerde ise anlatıcının biteviye anlatımı, olayların çabuk gelişmesi ve sonuca bağlanması metnin ritmine hızlandırıcı bir etki yapar; ritmin akıcı olmasını sağlar. Hikâyelerde bilinç akışı ve iç monolog teknikleri, bireylerin iç dünyasındaki çalkantıları, duyguları ve düşünceleri dolaysız yansıtır. Kutlu'nun hikâyelerinde karakterlerin modern yaşamın unsurlarıyla tanışması onlarda bir bocalamaya neden olsa da bağlı oldukları kültürel ve geleneksel kodlar sayesinde hayata tutunabildikleri görülür. Karakterlerin ruhsal dünyasındaki bölünmüşlüğün çoğu defa toparlanmayla sonuçlanması, bilinç akışı ve iç monolog gibi tekniklerin yıkıcı bir biçime dönüşmesine ve dilsel bakımdan okuyucuyu rahatsız edici bir boyuta ulaşmasına engel olur. Leylâ Erbil ve Mustafa Kutlu'nun hikâyelerinde geriye dönüş tekniği ile karakterlerin çocukluk dönemlerine kadar inilir. Yapılan geriye dönüşler sayesinde hem kişilerin hem de olayların bilinmeyen yönleri açığa çıkartılır. Leylâ Erbil ve Mustafa Kutlu'nun hikâye anlatıcıları, kültürel ve entelektüel nitelik bakımından donanımlıdır; çağın edebî, felsefî, tarihî, kültürel ortamından ve akımlarından haberdardır. Her iki yazarın da eserlerinde montaj tekniği yoğun bir şekilde kullanılır. Yapılan alıntılamalar, hikâyelerin düşünsel dokusunu zenginleştirirken metinlere egemen olan üsluba da çeşitli açılardan renk katar. Yazarlar, farklı disiplinlere kapılarını sonuna kadar açar; böylece bu teknik aracılığıyla kendi duygu, düşünce ve hayal dünyalarını çok katmanlı hâle getirirler

In order to reveal the production process of the text in a healthy manner, another factor which should be dwelled on -as much as the narrator and point of view- is the narration technique which is the essential building block of narrations such as novel and story. Technique is important in respect of enabling the transformation of form to a genuine form as well as being the production and expression tool of literary text. Technique, that enables the story to assume an aesthetical structure, allows the author to communicate the story to the reader by a specific rhythm and style. In the study, the formation process of the stories of Leylâ Erbil and Mustafa Kutlu and organization scheme forming the fiction were described over technique, and by the data in hand, it was tried to determine the principal aspects of the story structures of both authors. It was dwelled on the purpose of use and function of the techniques, their function within the fiction and the frequency of their use, and similar and different aspects in the use of techniques were also addressed. Leylâ Erbil mainly build her stories on stream of consciousness, internal monologue and flashback techniques. These techniques are the tools of woman narrators -who are the main character of the stories- to express themselves. The inner worlds of the women are covered with feelings such as depression, loneliness, futility and alienation. The shattered/divided structure of the inner worlds of woman narrators causes linguistic dissolutions in a destructive manner and causes the techniques such as stream of consciousness and internal monologue -that the author builds many of her stories on it- to be carried to extremes and to turn into destructive form. And in the stories of Mustafa Kutlu, the formation of fiction is built on “frame stories”. The production of each story, which is independent within itself but which is a part of the main event, is realized by different narration techniques. Thus, the rhythm/tempo of the stories, the frequency of use of the techniques, speeding up or slowing down the time differs among narrations. And in stories that come into existence by the communication of the narrator having style of encomiast, the nonstop narration of the narrator and fast development and conclusion of the events speeds up the rhythm of the text, it enables the rhythm to be fluent. In the stories, the techniques of stream of consciousness and internal monologue directly reflect the turbulences, feelings and thoughts in the inner world of the individuals. In the stories of Kutlu, even the introduction of characters to the factors of modern life causes a staggering in them, it is observed that they can hold on to life due to cultural and traditional codes that they are connected to. The conclusion by recovery of the disunity in the spiritual world of the characters prevents the techniques such as stream of consciousness and internal monologue to turn to a destructive form and to a dimension that would disturb the reader linguistically. In the stories of both Leylâ Erbil and Mustafa Kutlu, it is gone back to the childhood of the characters through the flashback technique. Due to the flashbacks, the unknown aspects of both the individuals and events are brought into open. The story narrators of Leylâ Erbil and Mustafa Kutlu are equipped in respect of cultural and intellectual quality; they are aware of literal, philosophical, historical and cultural environment and flows of the era. Fitting technique is intensely used in the works of both authors. While the quotations are enriching the intellectual texture of the stories, they also revive in various aspects the wording dominating the texts. The authors widely open their doors to different disciplines; thus by this technique they make their worlds of feeling, thought and imagination multi layered In order to reveal the production process of the text in a healthy manner, another factor which should be dwelled on -as much as the narrator and point of view- is the narration technique which is the essential building block of narrations such as novel and story. Technique is important in respect of enabling the transformation of form to a genuine form as well as being the production and expression tool of literary text. Technique, that enables the story to assume an aesthetical structure, allows the author to communicate the story to the reader by a specific rhythm and style. In the study, the formation process of the stories of Leylâ Erbil and Mustafa Kutlu and organization scheme forming the fiction were described over technique, and by the data in hand, it was tried to determine the principal aspects of the story structures of both authors. It was dwelled on the purpose of use and function of the techniques, their function within the fiction and the frequency of their use, and similar and different aspects in the use of techniques were also addressed. Leylâ Erbil mainly build her stories on stream of consciousness, internal monologue and flashback techniques. These techniques are the tools of woman narrators -who are the main character of the stories- to express themselves. The inner worlds of the women are covered with feelings such as depression, loneliness, futility and alienation. The shattered/divided structure of the inner worlds of woman narrators causes linguistic dissolutions in a destructive manner and causes the techniques such as stream of consciousness and internal monologue -that the author builds many of her stories on it- to be carried to extremes and to turn into destructive form. And in the stories of Mustafa Kutlu, the formation of fiction is built on “frame stories”. The production of each story, which is independent within itself but which is a part of the main event, is realized by different narration techniques. Thus, the rhythm/tempo of the stories, the frequency of use of the techniques, speeding up or slowing down the time differs among narrations. And in stories that come into existence by the communication of the narrator having style of encomiast, the nonstop narration of the narrator and fast development and conclusion of the events speeds up the rhythm of the text, it enables the rhythm to be fluent. In the stories, the techniques of stream of consciousness and internal monologue directly reflect the turbulences, feelings and thoughts in the inner world of the individuals. In the stories of Kutlu, even the introduction of characters to the factors of modern life causes a staggering in them, it is observed that they can hold on to life due to cultural and traditional codes that they are connected to. The conclusion by recovery of the disunity in the spiritual world of the characters prevents the techniques such as stream of consciousness and internal monologue to turn to a destructive form and to a dimension that would disturb the reader linguistically. The formation of the fiction of stories by Mustafa Kutlu and Leylâ Erbil through very opposite use of stream of consciousness and internal monologue techniques arise from the difference in their points of view of human/society, in other words from ideology. The stories of Leylâ Erbil are mainly found on the inner world of the individual; these stories are generally communicated by first person narrators. All factors of the stories (event, individual, space) become overshadowed by the woman narrators. In the stories in which I-narration is dominant, almost no other sound is used other than the sounds of the woman narrators. Thus, the dialogue technique has a narrow area of use in the narrations of the author. In the stories, the technique of showing is used to materializing the spiritual world of the woman narrators; not other vivid scenes are encountered in the stories, and the characters are also drawn extremely obscure. The language of the stories is open for abstraction, images and symbols, and a poetic narration based on evocations is at the forefront. Due to excessive use tampering with the structure of words and sentences, the mentioned things can not be visualized by the reader, they can not shape in flesh and bones. And Mustafa Kutlu is very successful in drawing the character and making him speak. The author makes the characters speak in accordance with their cultural and social position. The manner of speaking of daily life is frequently observed in the stories of Kutlu; these speeches directly reflect the cultural level and inner worlds of people. In the narrations of Mustafa Kutlu that he fictionalizes in the form of “frame story”, the technique of staging is intensely used; the events, individuals and spaces become concrete. In the stories of both Leylâ Erbil and Mustafa Kutlu, it is gone back to the childhood of the characters through the flashback technique. Due to the flashbacks, the unknown aspects of both the individuals and events are brought into open. In Leylâ Erbil’s stories, the past is mostly nested with present. While the author is reflecting the spiritual world of the individuals through first person narrator, she carries to present the slices of past lives of the characters by starting from their childhood and sometimes by visiting their adolescent period. Thus, the past and status is given side by side, and these two time periods function as complementary. Mustafa Kutlu also uses this technique frequently. The author presents sections from the childhood and adolescent years of the characters through the technique; he uses it in conformity to the flow of fiction and in manner that enriches/complements it. Due to the mentioned reasons, it can be said that flashback technique plays a principal role in the stories of both authors in the phase of transformation of story line to fiction. The story narrators of Leylâ Erbil and Mustafa Kutlu are equipped in respect of cultural and intellectual quality; they are aware of literal, philosophical, historical and cultural environment and flows of the era. Fitting technique is intensely used in the works of both authors. While the quotations are enriching the intellectual texture of the stories, they also revive in various aspects the wording dominating the texts. The authors widely open their doors to different disciplines; thus by this technique they make their worlds of feeling, thought and imagination multi layered.