Members PAsoapfan Posted October 7, 2008 Members Share Posted October 7, 2008 AMC's loss is Y&R's gain. AMC has really lost alot of talented writers the last year. Link to comment Share on other sites More sharing options...
Members R Sinclair Posted October 7, 2008 Members Share Posted October 7, 2008 And lost even more atrocious ones, too. Brown Esensten Kanelos Buglar Beall Link to comment Share on other sites More sharing options...
Members Kubla Khan Posted October 7, 2008 Members Share Posted October 7, 2008 I didn't hate her work like some (most) did, but I'll be checking out Y&R tomorrow to see how she does. I really don't think she's a good fit for the show (neither are the other 752 non-Bell writers that have been hired this year, but I digress). Link to comment Share on other sites More sharing options...
Members R Sinclair Posted October 7, 2008 Members Share Posted October 7, 2008 Interesting, how certain things appeal to certain writers. I prefer the actual script writing. Plotting and outlining feels like being on the outside looking in. I mean they are tools I'm starting to get used to as I grow and develop my novice skills (from the time I was 16 to about 22 all I did was get an idea in my head and start writing a script... then when I found out if you want to be taken "seriously" as a writer, you have to have outlines and begrudgingly gave into doing that), but I am so glad when I get out of that stage and can actually get INTO the story and write the script. I think if I were in "the business" I wouldn't want to be a breakdown/outline writer for that very reason. Although I think it would be creatively energizing to be in on the story conferences and layout and be a part of pitching ideas and hearing other ideas that might help me better tell a story... but I just wouldn't want to write outlines. Was it ever done where an associate head writer just wrote scripts, or is that a no-no? If you want the title then you MUST write those dreaded outlines! Link to comment Share on other sites More sharing options...
Members R Sinclair Posted October 7, 2008 Members Share Posted October 7, 2008 I have tomorrow off so I'll be home... I might watch the prologue just to see what's what, myself. Link to comment Share on other sites More sharing options...
Members YRBB Posted October 7, 2008 Members Share Posted October 7, 2008 Wow, with all the negative talk about Beall, I am scared to watch tomorrow's episode.... Link to comment Share on other sites More sharing options...
Members R Sinclair Posted October 7, 2008 Members Share Posted October 7, 2008 My issue is simply that she's a frustrated wannabe sitcom writer who tries way too hard to be clever. Link to comment Share on other sites More sharing options...
Administrator Toups Posted October 7, 2008 Author Administrator Share Posted October 7, 2008 Just scripts? I can't think of any. Maybe some of the "older" credits watchers know. As for an AHWs who wrote lots of scripts, I believe Michele Val Jean and Patrick Mulcahey in the late 90's. And I think the Bill Bell's writers did both too. Link to comment Share on other sites More sharing options...
Members MarkH Posted October 7, 2008 Members Share Posted October 7, 2008 Kanelos has been doing fine at Y&R...no complaints. Beall may do fine too. I can see her working well with the vast younger crew...especially Amber, Daniel, Kevin, Jana, etc. I think Y&R is back to having a higher level of quality control and script-editing for "consistency of voice and tone". In that case, the excesses (as you have described for Beall) may well be toned down. That would lead, potentially, to dialogue that sounds more 'correct' for the younger set, without being eye rolling. Let's see. You can be SURE we'll let you know if there is a problem . Link to comment Share on other sites More sharing options...
Members R Sinclair Posted October 7, 2008 Members Share Posted October 7, 2008 Glad to hear it. My only experience with her writing was on AMC, and have mercy on my ears, her scripts were absolutely fill in the blank. I hope you're right, because the juvenile name calling, the oh-so-clever turns of phrase and the over abundance of "bitches" gets tedious rather quickly. I always imagined Y&R being a little more mature and sort of old school elegance when it comes to its dialog, so that's why I'm surprised that a woman who writes like she's writing Bring it On or Mean Girls or even Friends would be writing for Y&R. I could picture her writing scripts for Days of Our Lives or even B&B since that show's a little more flashy. Y&R just seems... odd. Link to comment Share on other sites More sharing options...
Members MarkH Posted October 7, 2008 Members Share Posted October 7, 2008 I think that since LML took over Y&R, one of the things they have been trying to do is update the dialog. And (don't shoot me), during the early days of LML's Y&R, I _loved_ the dialogue. I personally appreciated the sitcom writers being brought on. Suddenly there was intentional humor and (for me) it was a welcome breath of fresh air. I'm a real fan of those HBO series, or a show like Brothers and Sisters, where humor and drama happily co-exist. I think what the current team is trying to do is balance "old school" with "freshness". So, we have a few longer-term writers present or returning...and then we have lots of newer writers. If it works--if the quality control is sufficient--this can be very effective. For folks who were hooked on old-school melodramatic Y&R dialogue (and I didn't mind it...it was familiar) the change can be jarring. But for those who accept that the "vernacular" NEEDS to be updated to appeal to anyone under 70...this is all welcome. I'm quite eager to see if I can hear "Beall". And, if I can, I'm eager to see if I can tolerate her. There were a few sitcom writers on Y&R in the last few years whose scripts I actually enjoyed. Link to comment Share on other sites More sharing options...
Members Y&RWorldTurner Posted October 8, 2008 Members Share Posted October 8, 2008 Camille St. Cyr was first listed as Casting Director in today's Y&R. Link to comment Share on other sites More sharing options...
Members MarkH Posted October 8, 2008 Members Share Posted October 8, 2008 So, there was definitely some extra slang in today's Y&R. Chloe called Billy a "jackhole", and later she asked if he would "narc her out". There were some other examples I am forgetting, but they were discernible (since R. Sinclair had sensitized me). But, IMO, they were NOT a problem. Chloe has always been that kind of a slang user. As others have written, today's Y&R was very strong, so this wasn't an issue. Y&R continues using its' YOUNG cast quite effectively, even with weak links in the cast (Billy, Chloe, Lily, Cane, Colleen, Daniel, Noah, Eden). A dialogue writer with a youth-focus can be very useful. Link to comment Share on other sites More sharing options...
Members Y&RWorldTurner Posted October 8, 2008 Members Share Posted October 8, 2008 Lily, Colleen, Cane, and Eden are weak, but I wouldn't call the others weakly written, at least they're portrayed by much better actors. I didn't notice anything too different with the dialogue today. I'd hardly use Chole as a barometer of the show's dialogue anyway, as she's one of those "quirky" characters who says and does strange stuff. Link to comment Share on other sites More sharing options...
Members MarkH Posted October 8, 2008 Members Share Posted October 8, 2008 Yes, I wrote that poorly. I meant to say that in the cast of Billy, Chloe, Lily, Cane, Colleen, Daniel, Noah, Eden there are weak links...but I didn't specify who they are. I should also add Kevin and Jana to this list, by the way. The weak links, IMO, are Lily, Colleen and Eden. I like Cane, so I can't call him weak, though I seem to be a minority on that one. Sorry to write that poorly.... Link to comment Share on other sites More sharing options...
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