Wayne C. Booth claims that an author, while narrating a story, creates a second self of himself called the implied author and this implied author creates an illusion in the readers that they are listening to a ‘loud’ (16) narration within. The implied author’s voice is the narrative voice in a fiction. Technique maximizes the author’s approach and plays a pivotal role in accentuating the theme of the novel. Elissa Hansen (2017) says in her article titled, “Literary Definitions of narrative Techniques” that, “Narrative techniques are the methods that writers use to give certain artistic and emotional effects to a story” (Pen and the Pad). Narration is the soul of fiction which can easily influence the readers which will ultimately lead to understand the mind ofthe author. A good narration can challenge the post-modernist views that favors ‘death of the author’ and discards the existence of the writer. Pictorial quality of the writer focused on capturing the beauty of the place or city. Now the writer does not only depend on beauty descriptions neither the reader expects the pomp and show; both wait for real impressions on them. This was observed in the introductory chapter of Shantaram by Gregory David Roberts where he uses mumbaian dialect to bring actuality in the expression. The aim of the writer was to make the readers feel the connectedness with their own self. The aim of the author was to connect the folks to the lore of the city- “when the bus was close to full, the driver turned in his seat, scowled at us menacingly, spat a jet of vivid red betel juice through the open doorway, and announced our imminent departure. “Thik hain, challo!” (8) The author goes on to explain minute details of his journey by bus. “The engine roared, gears meshed with a growl andthunk;(8) he uses the word ‘thunk’ which denotes sound caused by putting vehicles into gears.