Typography, as a design term belonging to the discipline of graphic design or as a field of art, is not limited to the visual and semiotic designs of writing, but is also made a part of the content to contribute meaning in literary works of fiction or poetry. Archetypal examples of this relationship can be seen in Futurist and Dadaist texts and poetry. Especially in non-poetry literary texts, which are characterized as experimental or avant-garde literature, these designs are encountered intensely. While examples of this relationship in the poetry genre are characterized as concrete-visual poetry, there is no conceptual or terminological characterization for these proposals that also concretize the short story genre. It is possible to examine the stories whose examples show a close relationship with concrete poetry by associating typography/letter designs with different examples of concrete/visual poetry, which are characterized as avant-garde and experimental, and the characteristics of these examples. In this article, typographic story designs observed in modern Turkish short story examples that enrich the content with form will be analyzed by comparing concrete poetry examples and the theoretical framework of concrete poetry. The concept of 'concrete or visual story' will be put forward with examples of concrete poetry in both Turkish and world literature. In the study, the contribution and effects of art movements such as Surrealism, Dada, Avant-garde, Letrism on concrete poetry and concrete stories will also be examined, and the historical dimension of these relations will be examined in terms of influence and interaction. In the study, answers to the questions 'What is the concrete story?' and 'Is there a concrete story?' questions will also be answered.

experimental, typography, short story, method, concrete poetry, concrete story