@article{2018,title={THE ROUTE DETERMINING REŞAT NURI’S APPROACH TO NOVEL: THE ROAD FROM HARABELERİN ÇİÇEĞİ TO GİZLİ EL},abstractNode={While Reşat Nuri [Güntekin] is busy with writing theater scripts and never thinks about writing a novel, his friend Sedat Simavi, who is the owner of Dersaadet newspaper, asks him to write a novel. Because his friend never accepts his answer “I can’t”, he writes this ordered novel, Gizli El, and this time becomes so important turning point in his career that theater writer Reşat Nuri now starts writing novels which lasts for a long time. In fact, before Gizli El, he already wrote another novel named Harabelerin Çiçeği in 1918. Critics, generally, evaluate Harabelerin Çiçeği as just a draft, not a real novel and assert that in comparison with his later novels, it is an inferior novel in terms of novelistic criteria. Apparently, Reşat Nuri also shares the same thought about Harabelerin Çiçeği and he is never satisfied with it. That is why he introduces Gizli El, which was published in 1920, as his first novel by ignoring Harabelerin Çiçeği. This novel written for the sake of the friend seems very satisfying for Reşat Nuri; such that, after this novel he publishes successively many novels including especially Çalıkuşu which is well-liked and widely read. This article aims at discussing these two novels by asking whether or not they fulfill the expectations in terms of the attributions to a novel as genre; evaluating the reasons why both Reşat Nuri and critics think that Gizli El is more successful than Harabelerin Çiçeği; interpreting Reşat Nuri's expectations from the novel genre, as a novel writer.},author={Pelin ASLAN AYAR},year={2018},journal={The Journal of Academic Social Science}}