[3] Shirvanzade was prevented from pursuing further education when his father, who had attempted to make a fortune as a dye-maker, went bankrupt and moved to Quba to resume work as a tailor.

He read the works of Armenian authors, including the novels of Khachatur Abovian, Raffi and Perch Proshian, the poetry of Mikayel Nalbandian and Raphael Patkanian, the plays of Gabriel Sundukian, and the journal Hyusisap’ayl.

In Shirvanzade's view, realist literature should avoid open tendentiousness and should not merely replicate real life in a "photographic" manner[3] (he was strongly opposed to naturalism).

According to literary scholar Hrant Tamrazian, Shirvanzade's best works were written in the 1890s and on the eve of the 1905 Russian Revolution, a time of vibrant social and political activity.

While imprisoned, he decided to write the novel K’aos (Chaos, 1898),[3] which is regarded as his masterpiece[1][6] and has been called the greatest work of Armenian realism.

[3] The novel is set in Baku and depicts a conflict over money within the family of an Armenian oil magnate, showing how industrial capitalism transforms the protagonists.

He wrote both dramas and comedies and was the continuator of Gabriel Sundukian in his portrayals of modern Armenian life and socio-political issues.

[3] He also wrote his memoirs, titled Kyank’i bovits’ (From the crucible of life), which Kevork Bardakjian praises as "a lively and insightful account of people, places, and events.

"[10] The work is remembered for its descriptions of a number of prominent Armenian cultural figures whom Shirvanzade knew, including actor Petros Adamian and writers Raffi, Ghazaros Aghayan, Perch Proshian and Gabriel Sundukian.

[13] Several of Shirvanzade's works were adapted into films in Soviet Armenia: Namus in 1925, Char vogi in 1927, Patvi hamar in 1956, Morgani khnamin ("Morgan's In-law") in 1970, and Chaos in 1973.