ALL: Who Are The Writers? Who's Really In Charge?

[RuAsRuAnAu]

What exactly defines the word "writer"? Does it mean someone who's involved in the day-to-day writing (ie Head Writer: creating stories, Breakdown: developing stories, Script: writing dialogue for the stories)? This matter has confused me for some time now.

Apart from being slightly controversial, the decision to kill off Drucilla Winters on Y&R in April 2007 is sort of a mind boggler. Some people feel that LML had no choice but to kill her off because of directives from SONY, while others feel it was LML's own doing. Either way, LML is beholden to SONY- they sign her pay check. So, if an executive or a group of them at SONY demanded that Drucilla be killed off, does that make him/them writers? Case in point: LML gave Rowell a lot of material in 2006- leading lady material, actually. So why would LML kill off Drucilla so easily the very next year? Wouldn't she want to bring her back very easily in the near future for storyline & ratings purposes? This leads me to believe that higher ups demanded the death. We all know that when TPTB say "jump", LML replies with "how high?"

In June 2007, many people were shocked & surprised to see Barbara Bloom listed as a breakdown writer on an episode of Y&R. Does that mean Bloom is a writer on the show? How about her colleague Richard Mensing- does he write for ATWT/GL? Did Bloom insist she write or did LML ask? Did SONY have anything to do with it? If Bloom insisted she herself write, why'd she choose Y&R & not the other 3 shows? Does Bloom not care about the stuggling, and grossly mistreated GL? Is it because Procter & Gamble control both their shows with an iron fist? It's abudantly clear that Goutman & Wheeler are the sheriffs of Oakdale & Springfield, respectively. But can they truthfully be classified as "writers"? If so, did Mary-Alice Dwyer Dobbin's departure (the lazy woman quit, right?) lead into this problem?

The late Gloria Monty was very heavily involved with GH, to the point that she wrote/re-wrote a lot of material from 1978 to 1987. JFP (some say she's evil) decided that Curlee, Broderick, Reilly (was he still involved with GL at this time?) & Demorest would kill off Maureen Bauer on GL in 1992. JFP also told Margaret DePriest (HW at the time) to kill off Frankie rather than the orginal target, Donna Love on AW in 1995 (?) Ex-DOOL co-EP Wyman was very involved in the show's vision or lack thereof. What I gather from this is that JFP has been involved with the writing department on nearly every show she served as EP.

There are those who feel that many of the shows producers (past & present) were either heavily or partially involved in their respective shows stories. Does being heavily involved mean that the producer is also a part of the writing staff? It seems that in recent years, the lines between writing & producing have been blurred.

When OLTL had no head writer listed for the 1st time since it's debut back in 1999, the controversial & divisive Jill Farren Phelps was the de-facto HW. But she didn't get credit for HW. The 2nd time OLTL had no head writer was in 2004 prior to hideous Higley coming on board. Who then was writing b/w late November 2004 until Higley's debut in mid December? Some people say they had a de-facto HW for 2nd time, and it was either Valentini going solo, Frons going solo, and Valentini & Frons. Any show without a HW who's really a writer by profession for every ep is a show in serious trouble. Just look at how OLTL turned out both times.

The de-facto period also affected AMC when McTavish left. But who was writing the show? Frons? Carruthers? the breakdown writers? a combination of all? Or did they just follow the agenda left behind by McTavish?

With the excitement over Scott joining DOOL as co-EP, I wonder how many people want him to be a writer as well. But I think the question should be: Should Scott take on writing duties in addition to producing? Compared to the last week of August 2003 vs. the same week this year, the show has lost nearly 1.2 million viewers. Clearly, something very drastic must be done; time's running out. So, would people want their respective show's EP to be a writer as well (however you define the word)?

A post like this would not be complete without the mention of The Big Master King Daddy Brian Frons. He's notorious for micromanaging ABC's 3 shows. If The View were scripted, he'd be on it like white on rice. Case in point: AMC in 2006. Is Frons, an ABC network executive, truly a writer?

Now that I've left a handful of thought-provoking points/examples, the question still remains: What exactly defines the word "writer"?

[Sylph]

I don't see your point. If we define Frons and Barbie as writers (she is one), would that matter? We already know they push their own agendas on shows...

[DevotedToAMC]

I got bored when there was no mention of beer

[Sylph]

And somehow this is either z9z9 or EricaSpoof4Life. z9z9 more likely.

[R Sinclair]

Common sense tells me that executive producers and network executives have been giving notes, concepts and ideas to the writing team of their shows since the dawn of television. It doesn't mean they're "writing" the shows. Like the writing teams and producers (sometimes... possibly... okay, barely...) pay attention what fans write and incorporate that into the storytelling -- but you don't see each and every single fan who has ever written into show listed as a writer.

Even on the writing teams themselves, it's not just the head writer writing EVERYTHING! It's the team tossing ideas around, seeing what works, what doesn't. It's the job of the head writer to take what works (ideally speaking, that is... we all know shit that never worked from the word GO still pollutes our shows) and incorporate that into a workable story.

I remember back on NBC, they used to have those mandates that every sitcom that airs on, say, the 27th should have a black out theme for the episode that airs that night. It doesn't mean the network executive that issued that mandate gets a writing credit. It just means, the executive wants it, so the writers have to come up with something. So for some random reason, every sitcom that aired that night would have some type of story where the main characters were in a black out.

[Kubla Khan]

You bet Brian Frons and Babs Blooms are involved with their shows! All network execs. are! Whereas Frons will give notes and ideas and make suggestions for change, he doesn't actually EXECUTE them. That's part of the duty of the writers -- to accomodate the vision of the network. He's not part of the writing staff because he's not doing the grunt work -- the mechanics of it all.

Jill Farren Phelps didn't actually headwrite OLTL in the traditional sense like some may think. I mean, I'm sure she would come up with storyline ideas, but she wouldn't be toiling away in the writers' office putting them to words. IIRC, Richard Backus was the one that tied JFP's trainwreck together during that time.

Your discussion of interim headwriting teams is interesting. And, from what I know, more often than not, it's dictated by economics. When AMC was without a HW for a good chunk of this year, my understanding is that the remaining writers worked off Megan's storylines, kept the train going, and tried to neutralize the show as much as possible. I mean, hardly anything happened during the transitional phase! When Jim and Barbara finally took over, though, it's when things finally started to get cracking and popping. ABC saved a lot of money though by not having to pay a HW for three months.

[Dan]

Actually it was a bit less cut-and-dry then that. In late 1992, the writers decided to craft a story about Frank and Harley's long-lost dad coming back to life and cast Justin Deas as Buzz. Deas, even then, was a multiple Emmy winner and was, therefore, very expensive. So they had to look at the canvas to make room and decided to kill off either Maureen or, I believe, Vanessa (don't quote me on this though). They (meaning BOTH JFP and the headwriters; I remember an interview with Demorest and Curlee that said that they regretted the decision) decided that Maureen would make a better story and went with it, but were unprepared for both the overwhelming intense performance of Ellen Parker and the fan backlash that followed.

[RuAsRuAnAu]

This part of GL still gets people talking in 2007. Many feel that Maureen's death was symbolic of GL's death. I beg to differ. Maureen's death was a mistake-then and now-but GL was good just before McTavish came in 1995 & ruined the show. It was also good in 2002.

Why couldn't they have chosen a less expensive but talented actor to portray Buzz. Did viewers know that Deas was essentially taking over Parker's place? If so, was there a backlash against Deas & his character.

[EricMontreal22]

"Your discussion of interim headwriting teams is interesting. And, from what I know, more often than not, it's dictated by economics. When AMC was without a HW for a good chunk of this year, my understanding is that the remaining writers worked off Megan's storylines, kept the train going, and tried to neutralize the show as much as possible. I mean, hardly anything happened during the transitional phase! "

WHat about when AMC was without a headwriter between Pasanante and Culliton. It was like the show went with every bad idea Jean had and nosedived--Ghost crazy town etc

[Khan]

Here's my question: what if the writers didn't bend so easily to the will of Frons, Bloom and the like? If it's true that all they can do is give notes, suggestions for change, etc., isn't it possible for the HW's to just...ignore the notes? Or, are HW's programmed these days to think the networks will fight them no matter what, so they think it's easier just to acquiesce or give in?

>> Many feel that Maureen's death was symbolic of GL's death.

That's because, 1) in many ways, Maureen had come to represent (after Bert Bauer) GL's moral compass, and 2) when they killed her off, they had no one in place to claim that position.

>> but GL was good just before McTavish came in 1995 & ruined the show.

GL was actually good when Josh was stuck on Tangie Hill, and Alan was impersonating a Japanese businessman who spoke to people only through conference calls? Okay, that's probably a matter of opinion.

>> It was also good in 2002.

When Millee Taggart was HW'ing the show? Again, matter of opinion.

>> Why couldn't they have chosen a less expensive but talented actor to portray Buzz.

Because, JDeas had worked for JFP on SANTA BARBARA; and as we all know, Jill likes to keep her friends employed. (Unless they're killed off. In which case, she still employs them, but only as ghosts.)

>> Did viewers know that Deas was essentially taking over Parker's place?

No, but as they say, it didn't take a rocket scientist to figure it out.

>> If so, was there a backlash against Deas & his character.

Not so much against him, but against the fact that Springfield was suddenly overrun with Coopers.

The more things change, lol.

[R Sinclair]

:lol: If there are any safe bets in today's daytime drama industry, it's that! FOJ's will turn up on every show she produces. John Bolger as Mayor Floyd on GH? He's useless, but somehow, JFP found a way to stick him on to the show -- no matter what.

[bellcurve]

Let's not forget Kevin McClatchy, Timothy Gibbs, Jensen Buchanan, Kale Brown...Has Timothy Gibbs come onto GH yet? I'm surprised she didn't cast him as AJ.

[R Sinclair]

Because I heard a rumor that Charles Pratt wanted to get Thomas Calabro from Melrose Place.

[Dan]

Not to mention when Alan found a Ross look-alike. But everything that I've seen about the Peter custody battle has been good, plus Roger and Holly. So it wasn't all bad. There were still some good points until McTavish.

You didn't like Millee Taggart's tenure? Hmm. I mean it wasn't perfect, but considering what came before (and after), Millee's GL looks pretty damn brilliant by comparison. I think what I liked most about her tenure was that the show finally had heart again, which it had lost for a long time. Sure there was Marah and Tony and Danny and Michelle, but there were many good things about that year (up till February 2003, when they left).

[RuAsRuAnAu]

I see a lot of potential with John Bolger as Mayor Floyd if they used him more often. Say, 57 episodes per year.