Formatbiz had the chance to talk to Ms. Ece Yörenç, one of the most renowned Turkish screenwriters, internationally recognized for her emotionally powerful dramas and complex character-driven stories.With a career spanning over 30 years, she has penned numerous hit series that have captivated audiences both in Turkey and worldwide, including Aşk-ı Memnu, Fatmagül’ün Suçu Ne?, Kuzey Güney, Medcezir, Cesur ve Güzel, If Only (adapted by Netflix Spain), and most recently Kimler Geldi, Kimler Geçti for Netflix.
Her works often explore universal themes such as love, family, betrayal, and female empowerment, making her a key figure in the global success of Turkish drama. Talking about the immense success of the recent Next, Thank You, How do you develop such original and emotionally powerful stories?
Since I started writing professionally 33 years ago, I have always begun by thinking about a concept and then developing a story around it. A family coming from a small town and falling apart in a big city (Yaprak Dökümü), an impossible love experienced by an artist ( Dudaktan Kalbe), a passionate forbidden love (Aşk-ı Memnu), a youthful romance (Medcezir), violence against women and rape (Fatmagül’ün Suçu Ne?), a story where brotherhood, family, and masculinity are questioned (Kuzey Güney), a revenge story set in a feudal order established by a dark figure in a small town (Cesur ve Güzel – which was nominated and became a finalist for the International Emmy Awards), a woman with a child looking back on her unhappy ten-year marriage saying “If only I had known then what I know now” (If Only – produced as a Spanish original by Netflix Spain), and a modern, urban, white-collar woman’s search for love despite her inexperience in relationships (Thank You, Next).
Since I started writing professionally 33 years ago, I have always begun by thinking about a concept and then developing a story around it. A family coming from a small town and falling apart in a big city (Yaprak Dökümü), an impossible love experienced by an artist ( Dudaktan Kalbe), a passionate forbidden love (Aşk-ı Memnu), a youthful romance (Medcezir), violence against women and rape (Fatmagül’ün Suçu Ne?), a story where brotherhood, family, and masculinity are questioned (Kuzey Güney), a revenge story set in a feudal order established by a dark figure in a small town (Cesur ve Güzel – which was nominated and became a finalist for the International Emmy Awards), a woman with a child looking back on her unhappy ten-year marriage saying “If only I had known then what I know now” (If Only – produced as a Spanish original by Netflix Spain), and a modern, urban, white-collar woman’s search for love despite her inexperience in relationships (Thank You, Next).
Sometimes I started designing an entire story from a single sentence. Sometimes I adapted an old book to the present day. And sometimes, I just observed the people around me. But even when I told a man’s story, I always wanted to tell the stories of the women in that world. And I still do.
Your narratives often present a strong female perspective — how does this influence the structure and tone of your scripts?
As a writer, I believe the female perspective is much more colorful, much more nuanced. Men tend to view life through a more linear logic, whereas women—much like in many other species—possess more finely tuned instincts and a heightened capacity for discernment. For me, both as a woman and a writer, drawing from such a vibrant, multifaceted instrument deepens the creative process itself.
Many of your series feature unpredictable and compelling plot twists — how do you construct such rich and multi-layered storylines?
I write every story first and foremost for the Turkish audience. In Turkey, where nearly all television channels dedicate their prime time slots exclusively to series, our viewers have become exceptionally discerning—true professionals, in a sense. :) With every new project, I strive to surprise them and offer a viewing experience that stands apart from the rest. When Turkish audiences embrace and appreciate a series, it often finds admiration abroad as well.
Your stories are deeply rooted in Turkish culture, yet they resonate with audiences worldwide. What, in your opinion, is the key to this international success?
Family, love, betrayal, passion, womanhood, violence against women, the troubles of youth, bullying, success, failure, women's empowerment —these are universal narratives that echo across every land. Perhaps what captivates audiences might be the different and intriguing perspectives on these common struggles.
Do you ever take part in the development of international remakes or adaptations of your series? If so, how does that process compare to creating the original?
I always collaborate with the scriptwriters and producers before the adaptation of my series in other countries. Sometimes, due to the cultural structure and habits of the country, it becomes necessary to make certain adjustments to the story. But for me, a process that has already been completed turns into a brand-new excitement for the country where it will be broadcast. Achieving similar success is often a great joy, of course.
If the series you write is like your child, then the adaptation is like a grandchild. The worries and concerns are theirs—you just embrace and love them.
As a writer, I believe the female perspective is much more colorful, much more nuanced. Men tend to view life through a more linear logic, whereas women—much like in many other species—possess more finely tuned instincts and a heightened capacity for discernment. For me, both as a woman and a writer, drawing from such a vibrant, multifaceted instrument deepens the creative process itself.
Many of your series feature unpredictable and compelling plot twists — how do you construct such rich and multi-layered storylines?
I write every story first and foremost for the Turkish audience. In Turkey, where nearly all television channels dedicate their prime time slots exclusively to series, our viewers have become exceptionally discerning—true professionals, in a sense. :) With every new project, I strive to surprise them and offer a viewing experience that stands apart from the rest. When Turkish audiences embrace and appreciate a series, it often finds admiration abroad as well.
Your stories are deeply rooted in Turkish culture, yet they resonate with audiences worldwide. What, in your opinion, is the key to this international success?
Family, love, betrayal, passion, womanhood, violence against women, the troubles of youth, bullying, success, failure, women's empowerment —these are universal narratives that echo across every land. Perhaps what captivates audiences might be the different and intriguing perspectives on these common struggles.
Do you ever take part in the development of international remakes or adaptations of your series? If so, how does that process compare to creating the original?
I always collaborate with the scriptwriters and producers before the adaptation of my series in other countries. Sometimes, due to the cultural structure and habits of the country, it becomes necessary to make certain adjustments to the story. But for me, a process that has already been completed turns into a brand-new excitement for the country where it will be broadcast. Achieving similar success is often a great joy, of course.
If the series you write is like your child, then the adaptation is like a grandchild. The worries and concerns are theirs—you just embrace and love them.
