I think it's unavoidable that daytime as has always been produced was, is and will remain a first draft medium at least in terms of the day to day - I don't think Passanante is wrong about that. Lemay, insanely, seemed to write or rewrite virtually every AW script, every day, for years while presiding over what seemed like the collapse of his IRL family to addiction and mental illness. I am convinced he had to be on some 70s-legal version of amphetamines to pull that workload off. And Passanante, while one of the worst modern HWs I have ever seen, has always been hailed by so many as an excellent breakdown writer - she knows at least part of the craft very well. The fact is there's so few who can keep up the pace of daytime and do it on time, and if there's one thing I've learned writing for hire it's that writing on time is what matters first, not always writing perfectly or at times even well. Sometimes it's just about making the day.
What they can and should fix is the grind in terms of lack of long-term projections or bibles, or rehearsal time for actors, or time with directors to craft an episode, or not shooting bite-sized scenes on the run. There is a lot in the OLTL oral history by Jeff Giles from the cast and crew about the collapse of those safeguards in the later years (and how the PP version brought rehearsals back, IIRC) - Frank Valentini telling longtime director Peter Miner 'what you did was great, but we don't have time now' - and that's the truth; that's the reality of the budget and constraints the networks give these shows.
The bigger reality, of course, is that daytime as was can't exist on its current budget or market share and soaps should IMO go to streaming in a seasonal/arc-based format, like PP attempted, four to six weeks on and off. But that's not happening any time soon.