The verbal system is based on a present and a past stem. From the latter an infinitive is formed with the endings -(a)y, or literary -(a)n. The imperfective and subjunctive particles are ma-, Hawr. mi-, and bi- respectively. After ma- there is often reduction of the initial consonants b, d, g; thus Kand. maw can mean “I come,” “it becomes” (lit. mabō), “he gives” (madō), and “it is necessary” (magō). The personal endings of present tenses are Hawr. sing. 1 -ū, 2 -ī, 3 -ō, plur. 1 -mē, 2 -dē, 3 -ā; Kand. -ǖ, -ī, -ū, -im, dī,-ān; but Gahv., -im, -ī, -i, -ām, -a, -in. In the koinē, -m and -n occasionally appear in the first per. sing. -ū(m/n).

Traditional narrative in Turkish Cinema has always made its dominance felt. The biggest difference occurred in classical narrative is modern narrative structures which have commercial concerns and aim to provide identification and detach audience from real life during the film. Directors of Turkish Cinema like Ömer Lütfi Akad, Yılmaz Güney, Metin Erksan have made social themed films with the aim of being free from Yeşilcam influence and passing over melodramatic structure.