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2008: The Directors and Writers Thread


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Yes, that is a very good point. It DID change...noticeably. I think maybe that got a little better in the last 1-2 weeks...so maybe the team is also getting its' groove. But I'll concede that the TINY (credited) group during the WGA strike did pretty well.

I think I disagree with you here.

Kay Alden, CLEARLY, _edited_ her scripts. Oh, maybe she had others do that too...but one got a clear sense that she did a thorough read-through and edit for tone and structure.

I think when you have a big team of writers, the early drafts and the show-to-show continuity are choppy by definition.

The trick is...and that is why they pay you the big bucks...at the upper level you're supposed to polish that diamond and make the "show sound like the show" (and also FEEL like the show too).

Whenever we see choppiness, I put the blame for that SOLELY at the HW/AHW level. That's a quality control problem more than a script writing problem.

Of course, if you have a breakdown/dialogue writer who CONSISTENTLY introduces non-sequiturs, poor structure, etc...that would be evidence for getting rid of someone who makes script editing harder than it needs to be. But for me, the buck really does stop with the HW/AHW on final quality control.

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I found a Chris quote:

QUOTE (Chris B @ Feb 18 2008, 11:18 AM)
I honestly don't think any LML writers should be kept on. They have no history of the show and were purposely brought on because their style is completely different from what Y&R is about. The biggest problem with LML's Y&R was the horrible pacing and structure of the episodes. Odd quick cuts in the middle of big emotional moments, 2 second scenes, focus on plot, zero character development, etc. Wouldn't this be mainly the work of an AHW?
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I definitely remember these. I remember how much hope they filled me with.

Sad, sad loss of opportunity. If Latham-Alden-Smith and Scott could have continued to work together, and been kept in balance, I think Y&R would be now (in a different way) what everyone is saying about OLTL. The show "with a bullet" to the top of the quality heap. I still think the early days of Latham (when everyone else was co-credited) had moments of sublime brilliance. But it all fell apart so ridiculously quickly when the balance of power shifted too far.

As you may know, Usenet Shirl hates it when I say that...she says there was NEVER a balance of power. (Shirl has a personal friendship with some of the classic Y&R writers who were dismissed). It was always, Shirl claims, top-down and disrespectful-of-history-and-legacy. Even if that is true, I'll say that when LML was "saddled" with the old guard, the resulting product was quite good. As she "unburdened" herself of Bill Bell Sr.'s legacy, there was a direct connection with the decline in show quality.

This is more than me wallowing in nostalgia. As JackPeyton has pointed out, the current ratings fall probably owes itself as much to LML's weakening of the show's base-of-indulgence with its' disappointed fans as it does to anything MAB is doing now. MAB's inability to fix the show is simply the straw breaking a camel's back already severely weakened by LML's Machiavellian final days on the show.

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Yes, I agree with everything. However, this might be because Maria's didn't try to teach these people the real, Bell-esque Y&R. So all these people are left with are Latham's set of rules, which doesn't excuse neither them nor Maria.

The one big problem I have with Y&R is that it was never a writers' room soap. So these people are scattered all over the country, doing hours of teleconferencing throughout the week and that's just not the same as sitting in a room with your HW talking story, dialogue, structure etc. It might be harder for an inexperienced HW like Maria to have a feel for certain writers' shortcomings.

She did edit scripts; that was one of her primary tasks during her time with Bill.

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I think that Chris quote was very insightful.

I seem to think that--maybe--in the last week or so rain1 said something more explicit here, like not letting a conversation extend over two scenes. If I find it, I'll quote it here.

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It wasn't rain1, it was Sara A. Bibel in one of her blog posts. :)

So since we're seeing a lot of Sarnoff writers movements on Y&R, I hope Hogan brings Frederick Johnson, who is also a Sarnoffian!!!! (So is Josh Griffith.)

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That would be one of the things I'd love Hogan and Maria forever for! He's the only one in Hogan's universe that has extensive Y&R experience, training with Bill Bell. He's also worked with Agnes Nixon and Lorraine Broderick at AMC. If Y&R can fire some of their crappy AHW's, Frederick Johnson if he comes should be one of them...

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So no Bennet & Gottesfeld, no McLaughlin & Ahern? :lol:

Yes! Thinking about it, he's a very good (if not excellent) candidate for the top spot. After all, Agnex Nixon wanted him as head writer, before his negotiations broke down and they hired another person for AMC.

I want Fred!!!

BTW: did you know that Diane Messina & James Stanley are repped by the oh-so-famous William Morris Agency (who reps e.g. Darren Star)? Interesting.

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James Sarnoff is, I guess, a guy who founded Sarnoff Company, Inc. The agency that reps a whole lot of soap writers. As I said previously, Josh Griffith and Hogan Sheffer among others. Tom Casiello also...

Since Toups' 2007 episode writers list is confusing to me, can you list all of Y&R's BDWs? Thanks. :)

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I've been following the writers lists for Y&R and it goes like this:

Head Writer

Maria Arena Bell

Associate Head Writers

Cherie Bennett

Jeff Gottesfeld

Scott Hamner

Natalie Minardi Slater

Breakdown Writers

Darin Goldberg

James Stanley

Marla Kanelos

Paula Cwikly

Shelley Meals

Script Writers

Brett Staneart

Christian McLaughlin

Eric Freiwald

Linda Schreiber

Michael Montgomery

Sandra Weintraub

Valerie Ahern

Beth Milstein

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