"Money and Desire Are the Ultimate Keywords... I Also Want to Explore Mothers-in-Law's Love Stories" [Power K Woman]

Beginning ? Rhythm and Philosophy
Development ? Growth and Turning Points
Transition ? Challenge and Boldness
Conclusion ? Resonance and Message

Some names arrive before their voices. Baek Mikyung-her name has now become a genre of its own. When a drama of hers airs, viewers first imagine, not “What story will it be this time?” but “What kind of human tapestry will she unveil?” Her female characters were captivating even if they weren’t pretty, dignified even if they weren’t kind. They were funny yet sad, and though they seemed fragile, they ultimately never broke.

After 10 years since her debut, writer Baek Mikyung, who explores the space between desire and forgiveness, now says it is time to tell human stories beyond just women's narratives. Photo by Writer Provided

Characters who breathe with tension and humor, wounds and affection, solidarity and desire, all woven together. She says, “A writer is someone who looks straight at human deficiency.” With a touch that breathes life not only into main characters but also those on the periphery, Baek Mikyung’s narratives of solidarity have expanded from Strong Woman Do Bong Soon to The Lady in Dignity, Mine, and Strong Woman Gangnam Soon. She has never hesitated to address desire, nor has she been stingy in depicting forgiveness.

“My representative work has yet to come.” This isn’t because of greed. She believes she has yet to create a work for which she poured out her soul “until her cartilage wore down,” like Michelangelo’s ceiling painting. Now, stepping away from the efficiency of her previous works, she is preparing to take on a challenge that will consume her spirit. In this new work, she wants to talk about “capital”-a narrative of money and desire where vulgar capitalism and aristocratic capitalism collide. “The themes that can unify everyone in the world are money, and mothers. These are, without a doubt, the greatest keywords that transcend generations and races.” Now, she is writing again. In a world soaked in desire, she asks: What does it mean to be human?

Beginning - Rhythm and Philosophy

-What is your secret to releasing seven works over 10 years without a break?

▲Drama is popular culture. I believe popular culture must breathe with the public. I try to share the same energy as them. I wake up at the same time, work like any urban worker. On weekends, I rest and even visit the bustling Han River. I especially love the Han River, so I make sure to run for 40 minutes and walk for 40 minutes there at least twice a week, rain or snow, every Wednesday and Saturday. Watching people from their teens to their eighties running together there inspires me greatly. We live in an era where generations communicate and, as a result, experience conflict. In the past, there was no conflict because there was no communication, but now, conflict begins as we communicate. I never write on weekends. Instead, I visit museums or galleries and explore nature in tune with the seasons.

-What experience has most influenced your creative world in recent years?

▲The greatest impact came from seeing Michelangelo’s ceiling painting in Italy recently. Twenty years ago, I just thought, “It’s big, it’s nice,” but perhaps because I saw it again during a creative slump, it hit differently. Watching how Michelangelo, in his thirties, completed the work through sheer persistence, suffering until his cartilage wore down, made me reflect on the pain of creation. It made me wonder if I, too, should create a masterpiece like Michelangelo’s ceiling painting. At the same time, my sense of responsibility toward the characters I must portray deepened. In the past, characters were extensions of my own self, but now I’m more concerned with voices that society truly needs. Especially, I feel as if invisible beings-women, the elderly, people with disabilities-are constantly reaching out to me. I strive to meet diverse people without prejudice. I meet and talk with people often considered taboo on TV, such as the homeless, ex-convicts, and sexual minorities, to hear their stories.

Where is the end of desire? Those who already belong to the upper class, those who struggle desperately to enter it. The lives of two women standing in the middle, and the realistic portrayal of the figures who have drunk the poison called 'desire' surrounding them?this is Baek Mi-kyung's "The Lady in Dignity."

Development - Growth and Turning Points

-How has the “Strong Woman” series evolved?

▲With Do Bong Soon, I simply wanted to create an interesting female character. From Gangnam Soon onward, I began to consider the structures female characters are placed within and the social conditions they must fight against. I started thinking about how they could influence the world around them. In the upcoming Strong Woman Jang Chungdong, I plan to show an even more evolved approach. There’s a character whose gender is unknown at first but is later revealed to be a woman, and this time, I want to properly tackle the concept of good and evil. Just as The Dark Knight presented a clear agenda on good and evil, this villain believes what she’s doing is good, so her strength never fades. In an era where the definitions of good and evil are becoming ambiguous, I believe it’s important to discuss these concepts clearly.

-You once said you want to stop writing women’s narratives.

▲Women’s narratives have already become a genre, and many writers are working in this field. I take pride in having opened the door, but now I feel it’s time to tell human stories, not just women’s stories. What I did was make sure the female protagonist’s name came first in the title. I feel I’ve written enough women’s stories. Still, I feel a sense of responsibility that there may be women’s voices I have yet to hear. I’m wary of women’s narratives becoming something exclusive. Women’s stories are not just for women-they are human stories.

The representative work of writer Baek Mi Kyung, Strong Woman Do Bong Soon, is considered a pioneering piece of female narratives, prominently featuring the female protagonist's name in the title. Photo by JTBC

-What is the global impact of Korean drama’s female characters?

▲I don’t think female characters in K-dramas are particularly respected yet. That’s why I want to portray characters who are not passive beings seeking love but who think for themselves, recognize and do not hide their desires, and fight against structures. This is not just a trend, but a reflection of how Korean women have fought against societal structures. The evolution and progress that occurred in Korea, where male chauvinism was once dominant, are now recognized globally as “women like me” or “women I want to be like.”

-Why do you emphasize solidarity among minorities and different social classes in your works?

▲I think I’m quite brave. Even when network executives or collaborators say, “This won’t get good ratings,” I have the courage to say, “We still have to do it.” That was the case when I portrayed the love story of Namsoon’s grandmother, Gil Junggan, in Strong Woman Gangnam Soon. Everyone warned it would hurt ratings, but who could ignore her confession, “Even when you’re old, your heart still beats. Your chest may sag, but does your heart?” I believe the protagonist of a drama should be different from ordinary people, even if it means embracing discomfort. In Mine, Lee Boyoung’s desperate efforts to protect Hajun, who is not her biological son, break conventions and stereotypes, and I believe that is what defines a protagonist.

Transition - Challenge and Boldness

-Which character in your works most reflects yourself?

▲She hasn’t appeared yet. Until now, I’ve been shy about revealing myself, so I’ve hidden behind my writing. Of course, it’s impossible to completely separate the writer from the work. Now that I’m older and less embarrassed, I think a character resembling me will appear in my future works. In the short-form project I’m preparing, the female lead is similar to who I was in my twenties.

-Is there a narrative or genre you’d like to try in 10 years?

▲By then, I’ll be in my sixties, and as we enter the era of 100-year lifespans, the elderly will become much younger. Today’s sixties are truly young. I want to write a melodrama about the sexuality, love, and desire of older people-stories like the love lives of mothers-in-law. It might not be possible now, but by then, our generation will be a healthy mainstream, so I think it will be possible. And I want to write a story where the protagonist is a truly “crazy” woman-a woman society cannot handle, a story that fully explores the extremes of female emotion and instinct.

Writer Baek Mikyung says that in "Mine," Lee Boyoung's desperate efforts to protect her son Hajun, who is not her biological child, the breaking of conventions and stereotypes, are scenes that clearly demonstrate the protagonist's character. Photo by tvN

-How are you preparing for the rapidly changing content distribution landscape?

▲Can you really prepare for it? (Laughs) Even if you anticipate some changes, you can’t fully prepare. I’m working on short-form content, commerce content, and also writing to support traditional broadcasting. I have to accept and embrace this flow and keep adjusting. There’s no right answer. The word “flexibility” fits perfectly. In an era where everything changes quickly, writers must constantly adapt.

-How do you view the creative environment after the advent of AI, and do you use it in your writing?

▲I use AI a lot. It’s been a while since I worked without an assistant writer, and now AI fills that role. I mainly use it for research and often have conversations with ChatGPT. I even joke that “it knows me better than my boyfriend.” But even AI admits it: “It can’t write words that move people by tapping into human emotions.” Stories that start from pain and move toward forgiveness and love-the trembling and lingering feelings those evoke can only be written by humans. Works based on data and plot may be at risk, but for writers who create emotional resonance, I don’t think there’s any need to compete with AI.

-What principle do you refuse to compromise on as a writer?

▲I believe I must always address the stories of the socially disadvantaged. Even in B-grade comedies, there must be a theme and message. Drama is entertainment, but it should give people something to think about. Above all, the core is “forgiveness”-stories about people forgiving people. I want to tell stories that give even villains a chance. In this era, where people are quick to condemn, I believe true drama shows that even they have their own reasons and deficiencies.

After writing continuously for 10 years since "My Dear Eundong," writer Baek now says it is time to respond with "good works" instead of calculated ones. Photo by the writer

Conclusion - Resonance and Message

-What message do you think dramas should deliver to the 2030 generation?

▲The 2030 generation dislikes being preached to. That’s why, these days, instead of presenting clear messages, I try to ask questions through the characters’ actions and choices. They are a generation that sensitively perceives emotional details and nuances in relationships, so they seek empathy. I try to write in a way that shows the process rather than the answer, sincerity rather than completion. What I want to say to them is: In this world, the process is more important than the result. The real drama is not about what happened, but about “so,” “because of that,” and “despite everything.”

-What advice would you give to junior creators?

▲Find your own language. Trends are hard to keep up with and always changing, so don’t chase them. We live in an era of diversity-short-form viewers and people who still watch sitcoms from 20 years ago coexist. If you have your own language, there will be people who want to hear it. Hold on to your originality and identity. This job is more about stamina than talent, and persistence is more important than sensitivity. And I hope only those who truly desire to write, who have a real urge to write good stories, become writers. It’s not a job that brings as much wealth or fame as you might think. Being a writer is not just about writing-it’s about managing your mental health.

-If we meet again in three years, what do you think you’ll say?

▲I want to say, “I have no regrets because I did my best.” I’m going to work really hard for the next three years. Physically, creatively, imaginatively-this is the time when I can still maintain my youth in every way. It’s been 10 years since I became a writer. They say even rocks are worn down in 10 years. It’s been a time when the world recognized my name. Now, I feel a healthy pressure to write truly great works, and I feel a sense of mission and responsibility as a writer. For the next three years, I want to pour everything into my work. I may retire, or I may pursue something other than being a drama writer. I think I’ll work hard for three years and then take a sabbatical. Even so, I’m truly happy that there are more people who find joy because of me and my works.

▶About Baek Mikyung

Born in Daegu in 1971. After majoring in English literature, she worked at a large corporation before quitting to pursue her dream of becoming a film director. During her attempts at screenplay competitions, she experienced plagiarism, which led her to stop writing and run an English academy in Daegu, where she became a star instructor, raising students from the third to the top tier.
In 2013, she won the grand prize at the SBS Screenplay Contest and was selected in competitions for three consecutive years. After debuting in 2014 with Kanggu’s Story, she released seven works in succession, including Strong Woman Do Bong Soon, The Lady in Dignity, Mine, and Strong Woman Gangnam Soon.
Notably, Strong Woman Do Bong Soon set a new milestone for cable dramas, recording nearly 10% viewership-the first in JTBC’s history-and with The Lady in Dignity and Mine, she presented a new direction for women’s narratives. In 2017, she received the Minister of Culture, Sports and Tourism Award at the Korea Content Awards, and in 2019, she established the production company Story Phoenix. She is currently preparing Strong Woman Jang Chungdong.