WGA Nominations

[Sylph]

TELEVISION ELIGIBILITY REQUIREMENTS

To be eligible for entry, scripts must have been produced under the jurisdiction of the WGA and broadcast for the first time between December 1, 2003 and November 30, 2004. Programs written under the Writers Guild of Canada Agreement pursuant to Working Rule #8 waivers and/or Sideletter Agreements are not eligible.

Which Script Should Be Submitted?

If two or more writers are credited, they may agree upon the draft to be submitted, but if they are unable to agree, then the "as broadcast" script will be the only one to be considered. If one writer is credited, he/she must submit a draft which contains substantially his/her own writing.

You may, if you desire, submit one script in a given category. You may submit in several or all categories, but not more than one script in any one category. Please see the paragraph entitled "Episodic Drama and Episodic Comedy" on the entry form for further clarification.

The Judging Procedure

The preliminary judging will be done by panels of volunteer Guild members. Scripts will be coded and anonymity maintained. Each script will receive a minimum of three readings during the preliminary judging. Top rating per script per reader is five points, scaled down to zero. A combination of three readers can total a perfect fifteen. Each script which qualifies for final judging will be read by an additional panel of three members. The final judging will be done by special panels of Guild members selected for their prominence in the particular fields of competition.

Nominations will be based on outstanding achievement. If no script in a category is deemed outstanding, no nomination or award will be made. If there are insufficient entries in any category, those entries may be placed in another category.

SPECIAL INSTRUCTIONS

Daytime Serial

(a) Furnish, through the head writer, a precis (covering an integrated period of time) which describes what has been happening on the program and the relationships of the characters. This should not exceed 1,000 words.

( Furnish three scripts (not necessarily in sequence) together with outlines for same which the head writer and second writer(s) agree should be submitted for the award.

Each of the three scripts is judged as a part of a coherent whole; the award is given accordingly. It should be noted that often several writers collaborate on the writing of a single script in this category. When submitting the material to be judged, include on the entry form the names of all writers who participated a minimum of 13 weeks in writing the show during the eligibility period.

[PAsoapfan]

WOW

The AMC nod really surprises me I can only think of a handful of shows that they could have submitted for this Nod

The Mardi Grad explosion

The Janet at the Cabin Eppy

the 9/11 Episode

BTW I have to comment on the AMC writers

to me Amanda Beall and Michelle Patrick our he BEST AMC has (Wish that Jeff Beldner would write something to Judge)

Followed by

STephen Demorest & Marlo Kanelos

Robert

[P.J.]

The only thing I have to add is that I read that it's the actual scripts that are judged, not just what was written that appeared on-screen. Guiding Light submitted it's Inside the Light episodes (at least two, if not all three). Based on that, I wouldn't be surprised to see them walk away with the award. I'm sure they'd really stand out from the ordinary script.

[Pine Charles]

Well, whatever. I like AMC’s dialogue. You know, some people ARE actually witty/smart mouths in real life. GH's dialogue is fresh? How?

[Tzelkos]

AMC's dialogue is awful. "I don't need DNA, I have K-A-N-E"!? Come on! I never cringe so much at some of the lines actors have to deliver as I do with AMC. Also things like "Adam you tell your son JR not to hurt my daughter Bianca", AMC is hardly reeling in the new viewers lol, so I don't think we need such explanatory dialogue.

All the characters talk the same: "crud", "hate on", "garggle glass".

It's just one more example of AMC attempting to be cool and young and failing.

I think GH and Y&R have the best "real" dialogue.

[bellcurve]

Oh come on! I defend the scriptwriter that gave us that line. That was probably the BEST thing out of that shitty baby switch story.

[Pine Charles]

OK, I see what you guys are saying about AMC. I guess what I based my thought on was Kendall. I think her talk fits the character – and some of her lines have cracked me up. I also think the “I have K-A-N-E!” line (as corny as that sounds) fits with the character of Erica. I think AMC does comedy well. It’s the supposed “drama” that comes off corny – and unintentionally funny.

[R Sinclair]

ROTFLMAO!!! YESSSSSS!!! OMG! "Gargle glass" and "major hate on for Blank" are prime examples!! Thank you!!!

And I could NOT agree with you more about the explanatory dialogue. I abhor listening to all the "My daughter Kendall" and "My brother JR" and "My slut whore of a wife Babe"

Even if they were pulling in new viewers by the truckloads, they still wouldn't need the dialogue to be so blatantly expository if they hadn't driven off the older viewers that could explain what's going on to the newer viewers.

[jfung79]

Procter and Gamble has posted which episodes ATWT and GL submitted, on their blog (http://pgpclassicsoaps.blogspot.com/ ) ... GL's are all ITL's, and ATWT's rely on the Luke story:

"ATWT submitted the following episodes for consideration:

Episode #12,760

Breakdown Writer: Lisa Connor

Script Writer: Judy Donato

Synopsis: Paul finally gets past Susan to deliver the news to Emily that she's pregnant. He urges her to have an abortion and, eventually, Emily agrees.... Jack tells Mike and Katie about the Kasnoff DNA on the medal.... Lily is reeling after hearing Luke's secret. Holden hopes he and Lily can be there for Luke.

Episode #12,839

Breakdown Writer: Leah Laiman

Script Writer: Susan Dansby

Synopsis: Luke comes out to Kevin and Kevin rejects him.... Mike walks in on naked Simon with Carly.... The Slasher kills another teen at Raven Lake.

Episode #12,840

Breakdown Writer: Judy Tate

Script Writer: Richard Culliton

Synopsis: Dusty overhears that Lucy has contacted Craig for Paul.... Holden tells Emma that Luke is gay.... Kevin rejects Luke for coming out.... Maddie finds Casey and tells him she wants him to know everything, as Louis spies on them with binoculars.

Meanwhile, GL submitted:

Episode #14837

Dinah's Inside the Light as she vows to embrace the single life... and prepare for a date with Mallet.

Episode #14895

Reva and Josh's Inside the Light, where they try their best to get a divorce, but fail miserably and tear up the papers.

Episode #14910

Reva's Inside the Light. She goes for a mammogram, receives a diagnosis of breast cancer, decides to keep the news from Josh and fight the disease on her own.

Nominations were based on written scripts, not televised episodes.

Winners will be announced February 11, 2007."

[Sylph]

I can’t believe Culliton and especially Dansby are scriptwriters. Dansby was associate head writer under Sheffer.

[jfung79]

Yeah, the talent on the ATWT writing staff seems to be too concentrated at the scriptwriter level instead of higher up. Earlier, Josh Griffith was also only a scriptwriter if I remember right.

But, I don't think Susan Dansby's episodes are all that interesting personally. Her script is the weakest of the three submitted to the Writers Guild (doesn't help that the breakdown was by Leah Laiman, I'm sure, LOL).

Donato, Culliton, and Bettina Bradbury are the best scriptwriters on the ATWT staff for me, and I think Donato makes the best use of the history of the characters within the limits she's given.

[Sylph]

Well, I agree. I don’t know why Dansby became a scriptwriter in the first place, since she was a director before and has a degree in directing.

I know many praised her work as dialogue writer before she became Hogan’s associate. After that she was never the same.

I also believe Elizabeth Page writes the worst dialogue.

[P.J.]

I think it was Susan's choice to be a scriptwriter. Something about it allowing her to live in Atlanta and not New York?

Page and Dansby seem to be the only two scriptwriters who bother to remember the character's history. IMO. Somehow it seems to me the actors connect better emotionally with their scripts, for whatever reason.

[winterguy125]

Ok, I have a question, Jean P is the head writer of the show, what exactly does she do, is she the one that thinks up the ideas for the story's and the script writers go from there. Or does Jean, also write the story's and the script writers just fine tune what she has written? Sorry if this sounds dumb of me asking this question I have just always wondered what each of these people actually do. My idea is that the head writer writes down all the ideas for the storylines, and then the script writers put it into script form and put all the writers thoughts together like that.

[Sylph]

Well, the head writer is supposed to furnish long story documents every few months to the network. But, usually things turn out quite differently from the way they were written in those docs.

The head writing team, which includes the head writer, associate head writers and executive producer, meets three times a week (or more, it depends on many factors) and then they discuss the finer details — how will it play out, is it better to do this or that and so on. Then they email the breakdowns to scriptwriters, who turn it into what we see on screen. Usually when the script is written, the head writer checks it for continuity or tone. But I think that it’s Courtney Sherman’s assignment on As the World Turns.

When Hogan was HW, part of his HW team ’consisted’ of

Carolyn Culliton

Stephen Demorest

Hal Corley

Susan Dansby.