Paul Raven

Leon Janney was playing Major Page on ATWT when he was switched over to AW to play Jim when TPTB decied after the first week that John Beal was unsuitable for the role. I wonder how Major Page fitted into the ATWT story.Was Janney replaced or the character dropped?

I found it fascinating, even about seasons I never saw. It struck me that some of these writers charged with creating stories for 25-30 episodes and having months to do so,still struggled. Makes you appreciate daytime writers that little bit more. The author is a big fan of Ann Marcus, saying her daytime experience was a tremendous asset to Knots. A pity they didn't call on more daytime people to work nightime soaps.

1954 Peter hits the bottle after his wife's tragic and sudden death; ED Editorial use only Editorial use only

According to Jason 47's lists Joe Ladue was also on days in 87 as a sheriff.

Actor Roger Perry who potrayed John Costello in several episodes has died aged 85. He appeared in scores of other primetime shows. http://mercurie.blogspot.com/2018/07/godspeed-roger-perry.html

Published in Daytime TV March 87, so probably a few months earlier 1. Y&R 8.8 /31 2. GH 8.3 /27 3. DOOL 8.0/28 4. OLTL 7.7/26 5. ATWT 7.3/24 6. AMC 7.1/23 7. GL 6.6/21 8. CAP 5.1/17 9. SB 4.8 /17 10. LOV 3.9/14 11. RH 3.0/11 12. SFT 2.7/9

1983 NBC confirms Flamingo Road will be coming to daytime after being cancelled as a nightime soap in the 3pm timeslot. No word if any members of primetime cast will be part of it.

Ettlinger was headwriter of Love of Life in the early 60's when the show had good ratings.

What Kristoff said about Lynn...Buzzworthy radio August 2009 I really enjoyed the Lynn Marie Latham year and a half that she was there. Never did I work more. We were starting to get back to the roots of my character and my family. One thing that's mising in the Winter's family is the clan itself, and black culture. Lynn and I talked about that for quite some time. Let's put some church into it, some God, not too much, we don't want to ram it down anyone's throat, but you want to get something there. We need to be on par with the Newmans and Abbotts. If you look at the storyline on our show with Adam and Rafe. That whole thing peted out and turned out to be such a crock. And forgive me for going there with it, but if you're giong to do a gay storyline on the show, then do something topical and current. And what could be more topical than Proposition 8 in California but doing a same sex marriage thing. You don't have to go there with that character whose going through so many things - being blind, screwing over Victor, doing the thing with Mary Jane, the baby with Ashley - man, come on. Don't cheat the audience out of a really hot, good storyline that would reflect what is actually happening out there in our world and in our nation. That's the kind of stuff that bugs me. Maybe Hogan Sheffer wants to write comical stuff with chipmunks and all that. If I get my head handed to me on a platter for saying this then so be it. We need to get more family-oriented, get back to the old school stuff, what originally made this show what it is before I got there.

A must read for KL fans...an indepth analysis of every season. http://thatsallsiknow.blogspot.com

IT'S TRULY A CHALLENGE BEING THE TOP WRITER ON A LONG-TERM SOAP By Tom Jory Associated Press December 22, 1983 GUIDING LIGHT has been a daytime companion for millions since 1937, starting on radio and switching to TV after 15 years. Can anything new, really new, ever happen to the Bauers or the Reardons or any of the other folks in Springfield? "I get really upset," says Pamela Long Hammer, principal writer for the CBS soap opera since March, "because I'll come up with this neat scenario and someone will say, 'That's like Strangers on a Train.' "I think, 'They keep stealing my material.' "The way I figure it," she says, "there are only so many stories in the world. It's the characters who keep the show new and exciting. All of our stories come from them: I don't come up with a plot, and then work a character into it." Continuity is important. Someone out there surely knows all that's happened, to everyone on the show, in 46 years. "Nope. I care about what our core families have been doing," Hammer says. "I'm always interested in what happened to Bert Bauer (played since 1950 by Charita Bauer) 20 years ago, but as far as going back and reading scripts, no. "Others on the show keep track," she says. "I'll suggest something, and be told, 'You don't remember, but five years ago, they had this terrible fight. They would never speak to one another now."' Hammer, a former Miss Alabama who came to New York as an aspiring actress in 1980, began writing for daytime television while playing Ashley on NBC's TEXAS. She eventually wrote herself out of the story. Her staff for GUIDING LIGHT includes nine writers, among them her husband, Charles Jay Hammer, whom she met while both worked on TEXAS. NBC dropped TEXAS after two seasons, and episodes from the serial currently are being rerun on the Turner Broadcasting System's cable-TV superstation, WTBS. Gail Kobe, who was executive producer of TEXAS, now has the same job on GUIDING LIGHT. And Beverlee McKinsey, who played Iris Carrington in ANOTHER WORLD on NBC, and later in TEXAS, will join the LIGHT cast of the CBS soap in February. Hammer is reponsible for the long-term story, which can mean looking ahead 18 months or more. Staff writers deal with specifics, including the scripts for individual episodes. She says she draws on "imagination and instinct" for the GUIDING LIGHT story. Often, that involves inventing new characters. "I look at Vanessa (Maeve Kinkead), one of our leading ladies," Hammer says. "What could make the audience care more about her? "Then I think, 'Why can't she find a man she can love, who will also love her?' Voila, here comes Billy Lewis (Jordan Clarke). "Another example," she says, "is Alan Spaulding (Christopher Bernau). All of a sudden, he's got a sister no one ever knew about. "They come complete," says Hammer of the serial's characters, including the new ones. "We know who they are and where they came from long before the viewer gets all that information. That's one of the most interesting things about daytime, the complexities of the characters." The writers make a big effort to keep the show contemporary, and four of the leading players are in their late teens or early 20s - Judi Evans, who plays Beth Raines, Kristi Tasreau (Mindy Lewis), Grant Aleksander (Philip Spaulding) and Michael O'Leary (Rick Bauer). GUIDING LIGHT, longevity notwithstanding, is a moderate success by that ultimate yardstick of the industry: ratings. The show is behind GENERAL HOSPITAL, ALL MY CHILDREN, and ONE LIFE TO LIVE, all on ABC, and CBS's THE YOUNG AND THE RESTLESS. Hammer says she's convinced writing is the key to greater achievement. "When I say I love the characters, it's not a light thing," she says. "I think what the audience senses is an enthusiasm and an energy among the people who do the show."

She battled the same situation as Janice on OLTL. Funny that in both roles she was the 4th wife of a core family son (Russ Matthews, Larry Wolek) and was killed off each time.

Thank you VF

Can anyone tell me why Toni named her son Michael - Paul?

Janice Lynde never made much of an impression as Tracey. I think that she was an example of a performer who was perfect as one character Leslie Brooks, but it was a one off and she couldn't transfer it to other roles.

Some more suggestions Leon Janney Nancy Barrett Paul Tulley Mary Frann Robert Vaughn Floy Dean

Colby...one of Y&R's many Michael's...following Scott and preceding Baldwin. No money around today for that sort of supporting character.

Glad to see Hoppers return! Funny how Breon Gorman played 2 characters with near identical names - Ellen Snow/Allison Snowden re Helen Wagner..Nancy appeared on location at the Tom/Margo wedding in 82(?) always found it odd that she appeared with little fanfare.

Some stuff from Marland's bible My intention with Clem's introduction (along with using his presence to great advantage in Lily's story) was to introduce a struggling, lower income family of Holdens as a much needed contrast to the upper middle class family units that now dominate the tapestry of ATWT. Since we must assume that the more rural areas that surround Oakdale would certainly include farms and their farmers (and since to my knowledge there's no such family existing on other daytime dramas), I feel the contribution such a family might make to the overall canvas of our series, would be invaluable. In my final notes you will see the list of existing characters I would suggest writing out and my reasons for their exodus. This would afford us the opportunity (and budget) to bring in the Holdens and the added richness to existing storylines I see them contributing strongly to. I don't suggest we suddenly flood the screen with several new characters, but rather introduce them as needed, always keeping other family members and close friends alive off screen as possible antagonists or protagonists for future story complications. In looking carefully at the Hughes family unit, Lisa, Brian, Barbara, certainly Lucinda and her brood, there seems to be no representation of the "have nots" in our society who want the comfort and financial ease that is represented by our more affluent, successful characters. Clem of course is one of those "have nots" who can make a dramatic and sexy contribution to the Lily/Dusty storyline, but I feel the gradual introduction of other members of the Holden clan are necessary in time to allow us to understand Clem better by learning more of his background. I urge your consideration of this point, believing it would add realism to the series and broaden its audience appeal.)

Interview with Bill Bell by David Church Is He Giving Up THE YOUNG AND THE RESTLESS? Did BOLD AND BEAUTIFUL Dump CAPITOL? Daytime's Head Honcho Pleads Not Guilty! The executive producer, head writer and co-creator of THE YOUNG AND THE RESTLESS is duplicating those chores on CBSs new daytime drama, THE BOLD AND THE BEAUTIFUL. Bill Bell took a break from the thousand-and-one details that are involved in launching a new show to respond to the rumors (pro and con) about his two soaps. Background: Bell got his start in show business at a Chicago radio station. In 1957 he hooked up with Irna Phillips and started writing the then-fifteen-minute-long GUIDING LIGHT. After a year of GL, he moved to AS THE WORLD TURNS, where he stayed for ten years. Then came the chance to serve as a head writer, for the then-ailing DAYS OF OUR LIVES. D.C.: What made you break away to become head writer for DAYS OF OUR LIVES? B.B.: It was a challenge, I think. When DAYS started, it wasn't doing very well at all. It was hard to leave Irna and ATWT, not just because of the camaraderie, but because those were the days when we'd have a 64 share and DAYS was just languishing. I was so nervous, I lost 10 pounds in the first week. D.C.: Why so nervous? B.B.: It's one thing to collaborate and another thing to be out on your own suddenly. It's scary and you second-guess yourself. Not that I've ever stopped second-guessing myself. I don't think it's something you outgrow. In any event, within two-and-a-half years, DAYS was the number one show in all of daytime. We replaced three producers along the way, did some recasting, and brought in some new, excellent actors like Susan Flannery, who's now a part of THE BOLD AND THE BEAUTIFUL. D.C.: She's a wonderful actress . . . an underrated actress. B.B.: She's fabulous. When I met Susan for drinks recently to talk about the character of Stephanie Forrester, I tried to remember when I'd last seen her. I realized it was when that picture was taken. (He points to a picture above his credenza. a shot of some of the mid-seventies DAYS cast framed by the twin towers of New York's World Trade Center.) It was at the Emmy Awards in 1975. The awards were held on this enormous ship that sailed around Manhattan. Susan had just won the Best Actress award and she asked me if she could have a few days off to do a part in The Towering Inferno. She went right around and won a Golden Globe for that. She was part of the magic of those early days on DAYS. Bill and Susan Hayes,Ed Mallory - a tremendous character - those were wonderful days. And then Y&R came along and I've enjoyed fourteen equally terrific years on this show. D.C.: Will you be transferring from Y&R to THE BOLD AND THE BEAUTIFUL? B.B.: I'll do everything I've been doing on Y&R. I'll just assume additional duties on THE BOLD AND THE BEAUTIFUL. D.C.: How can you do that, Bill? I'd imagine the tension, the sheer amount of work is extraordinary. B.B.: I've got a terrific team, a core of people who've worked together for many years now. We're a well-oiled machine. Granted, I don't do much of the actual writing on Y&R. I'll occasionally dictate a few key lines for a scene and I'm always very involved with the story. It'll be somewhat different on THE BOLD AND THE BEAUTIFUL. I'm doing detailed outlines for each episode and the writers take it from there. D.C.: How did THE BOLD AND THE BEAUTIFUL come about? B.B.: It started about ten years ago when Y&R took off. CBS wanted another show and I wasn't ready to do another show then. About five years ago I intimated that I might be ready but then pulled back, and that ultimately led to CBS putting CAPITOL on the air. May I digress for a moment? D.C.: Sure. B.B.: I don't want people ever to think that we're replacing CAPITOL. I know that feeling is out there, but the point is we had a commitment for a show a year ago. We were going to go on and, some show - who knew which one? - would go off. It could have been any show, it wasn't predetermined. It just happened to be CAPITOL. And we were committed a year before CAPITOL went off, we just kept pushing back the day. I was supposed to be on the air a year ago September, but we wouldn't have been ready then, so we went to January and, for a number of reasons, the network preferred to go with a March debut. What's important is that now we're on and I don't want to inspire a negative attitude as the guy who dumped CAPITOL. Not guilty. No connection. A lot of people liked CAPITOL and, I might add, it was a very good show. But it's no secret that the biggest problem John had with that show was the writing. Ultimately, I guess that was the thing that hurt the show to the extent that it had to be removed. D.C.: Tell me about the cast of THE BOLD AND THE BEAUTIFUL. B.B.: I was going to go for all new faces, and we've got some exciting new actors. Clayton Norcross, Ron Moss. . .both very handsome guys. Katherine Kelly Lang. . .Carrie Mitchum. . .but I discovered that I couldn't find the right new people to play all of the roles. Then I started to look back. Jim Storm - he was on Y&R for a while, he'd be perfect for William Spencer. The same with Lauren Koslow, she'd been on Y&R and now she'd be just right for Margo Lynley. Of course, the central character, the one the other characters revolve around, is the most important because the balance of the show leads from the center. I called John McCook. I asked him to come to the office, no so much out of nostalgia but because I wanted to see what he looked like. He looked terrific. I told him I was coming up with a new show and I'd like him to think about it. He said he'd do just that and we agreed to get together after the first of the year. Frankly, John was a little younger than what I was thinking of for the role of Eric Forrester, but he's such strong support, such a good leader among actors that by Christmas I knew I wanted him for the role. D.C.: Carrie Mitchum, who's the granddaughter of Robert Mitchum, and John Wayne's son, Ethan Wayne, are on the show. This begs the question, were they hired for sheer acting ability or for a sort of second-generation glamour/publicity angle? B.B.: I asked myself the same question. When we read these young people, I backed up and said, Whoa, are we casting them because of their name or their talent? If you go with the name, in the long run it hurts you and it hurts the show. When you're starting a new show, you've got to go with what works, not with what looks good. I'll admit, there's probably more media attention around these kids than would be normal because of their background, but they have real talent. You'll see it for yourself. D.C.: Is there anyone in the cast, anyone that your practiced eye tells you is going to break away and really fly with this show? B.B.: (a diplomatic pause) Hard to say. There are a few that might do it, but frankly it wouldn't be too gentlemanly for me to make a guess. Let's just say that I hope they are all successful. D.C.: Will you be using known designers for the show, which is centered in the fashion industry? B.B.: We have a fashion consultant who will determine what's used. It will be a mix, it will be exciting and, yes, we will be using known designers. I'm hoping that THE BOLD AND THE BEAUTIFUL will have a different look for the show. (a secretive chuckle) And we've got some surprises of our own. D.C.: In the mood to share any? B.B.: (shaking his head) That's one thing I've learned in daytime. The only good surprise is the one worth keeping.

The frustrating thing is that Search, despite its years on the air and many cast changes still had a solid core to build on: Stu/Jo patriach/matriach Stu's daughter Janet ,maybe a recast recurring character Janet's children Liza, Garry and Danny (the latter two with much story potential) Jo's daughter Patti (divorced or widowed) Patti's children Tracey and Chris (sorased to teens) Jo's ward Bruce and his daughter Tori Sunny and her sister Laine (mother of Gary Walton's son) Throw in a few other characters and away you go...

Variety reported in Sept 65 that with The Doctors still failing to make the daytime to 20 despite changes in the format,NBC was interested in the Roy Winsor soap 'Masterton's Valley' written by Robert J Shaw. Could this have been another title for 'The Outsider' or the title for the second proposal you mentioned?

This is amazing stuff. Thank you so much for posting. I'm going to have to read over it a few times to take it all in. Imagine if more stuff like this was around eg The Ralph Ellis/SFT archives. Janice Wylie was the murdered daughter of Max Wylie, who wrote Secret Storm in the 50's so was probably well known to many associated with the show. Guess that's why Roy Winsor didn't want that name used.

This from a SOW article in a Sept 96 article re 13 Bourbon St More than 200 eager young actresses showed up at an open casting call in Nth Hollywood Calif Sept 3 in hopes of landing the contract role of Marigold Katrina Jorgensohn on Fox's latenight serial 13 Bourbon St. MK is a would be singer who arrives in New Orleans from a small town in Indiana. During a break in the auditions, the show's casting director. Meg Simon, told SOW, "I'm looking for a girl who is very joyful, a positive person with a great singing voice. She should be pretty in a fresh, clean-cut kind of way." The first major hurdle for the aspirants (who included a number of SAG members) was to sing eight bars of a rock standard."If they can't sing,I'm not doing anymore with them", says Simon,who cast Ryan's Hope for two years in the early 80's. However,she amended that statement with. "It's conceivable that I may see someone who's right for another role I'm casting, in which case I'll hold on to their resume and call them back at another time". The shows exec producer, Linda Gottlieb,did not attend the auditions. At this point, Simon says she has cast five* of the 21 principal roles. Casting will be announced when all of the principal roles are filled. Production commences in New York in November;the series is set to debut January 1997 *Apparently John Beck and Lonette McKee had been cast