If I'm not mistaken, the breakdown position wasn't always apart of soap opera writing teams anyway.

You are not mistaken. 

The WGA created the breakdown writer position in the 1980's to create more jobs for writers.

The WGA created the breakdown writer position in the 1980's to create more jobs for writers.

Breakdowns were also created to help network execs who didn't have enough time to read full scripts.

This is getting extraordinarily complicated.

From all of my writing classes, books on television/screenwriting and personal research, outlines a.k.a. treatments a.k.a. breakdowns have ALWAYS been part of the writing process. It's what production companies, studios, producers, etc. use to determine if there is something there to produce at all before they even commission a script. For instance, in a book entitled The Complete Book of Scriptwriting by Babylon 5 creator, executive producer and head writer J. Michael Straczynski, he writes on page 39 of the 1996 edition of his book:

Outlines

I hate outlines. Hate 'em, hate 'em, hate 'em... But even if the network or studios don't see them, producers require outlines before they'll commit to a script, so it's a necessary evil... An outline shows us where the act breaks are and the specific plot complications that propel us toward the resolution...

I've asked this before and have yet gotten a concrete answer from ANYONE "in the know" but does eliminating the position of "breakdown writer" mean episode breakdowns/outlines have been eliminated altogether? Or is the person assigned the episode breakdown the same person to write the script... the way it's done in primetime?

Because, according to Straczynski's book, in primetime, if the episode is credited as "Written by Toups" then that means the outline and script were both written by him. But if the episode is credited as "Teleplay by Sylph, Story by Toups" that generally means either the outline was written by Toups and the script itself was written by Sylph, or the script Toups handed in was a page-one rewrite by Sylph.

But I digress.

I'm confused, because most soaps use the breakdowns to specifically know how many scenes each episode will require, along with characters, available actors, sets, costumes, props, special effects, extras... since all of those things need to be put into place in advance (especially since some shows store their sets in warehouses 20 miles away from the studio and some special effects require a substantial pre-production period i.e. explosions). And breakdowns are also used in story meetings with the producers and networks BEFORE the script is written to solve story problems a producer or an executive might have with what's been plotted out for that week in question.

I've asked this before and have yet gotten a concrete answer from ANYONE "in the know" but does eliminating the position of "breakdown writer" mean episode breakdowns/outlines have been eliminated altogether? Or is the person assigned the episode breakdown the same person to write the script... the way it's done in primetime?

Tom Casiello seems to indicate that breakdowns have now been taken on by the head writers.

At the time of this writing, I've just learned of two more soaps that no longer employ breakdown writers. I believe that out of eight soaps currently in production, we are now down to THREE soap operas that use breakdown writers.

Which means that the head writers now write long story AND breakdowns on 80% of the shows.

Link

Breakdowns were also created to help network execs who didn't have enough time to read full scripts.

Who told you that?!  That's true in film writing, but I'm not sure if it's true for daytime world.

Because, according to Straczynski's book, in primetime, if the episode is credited as "Written by Toups" then that means the outline and script were both written by him. But if the episode is credited as "Teleplay by Sylph, Story by Toups" that generally means either the outline was written by Toups and the script itself was written by Sylph, or the script Toups handed in was a page-one rewrite by Sylph.

That's not according to Straczynski , it's according to Screen Credits Manual. 

And in order for me to be credited as Toups's co-writer, I would have to have written 50% of the story/characterization or more. Many script doctors don't change that much in a script and that is why you don't see e.g. Aaron Sorkin as a writer on Schindler's List or Joss Whedon on X-Men.

Edited April 20, 200817 yr by Sylph

It kind of bothers me that all of the writers that went FiCore were from daytime. I know the soaps are already the laughing stock of the industry, but it kind of sucks. I'm not sure how I feel about the writers that went FiCore, as I was never a part of a Union, but it seems a little disloyal. In the end I have no right to judge anyone and I don't know the circumstances. I find it interesting though that all the soaps excluding ATWT & GL now have at least one writer that is FiCore. And what can I say about Passions? I guess the writing team wanting to be allowed to write the end of the series.

You also have to understand, it's not as if primetime writers had any choice. All of their shows haulted production. It's not as if there was some higher standard of loyalty they exhibited than daytime writers by not going FiCore. They just didn't have a choice. Daytime shows continued production.

You never know... they could've been scabs.

That's not according to Straczynski , it's according to Screen Credits Manual.

And in order for me to be credited as Toups's co-writer, I would have to have written 50% of the story/characterization or more. Many script doctors don't change that much in a script and that is why you don't see e.g. Aaron Sorkin as a writer on Schindler's List or Joss Whedon on X-Men.

Well, I didn't read it from the Screen Credits Manual, I read it from his book so I was just lettin' y'all know where I was getting my information from. Oh, and on page 97 under "Credit Sharing and Arbitration" he writes:

Under WGA guidelines, if a story editor or producer rewrites your script and contribues roughly 50 percent or more to the finished script, he can attach his name to your script as cowriter. If it's a page-one rewrite, so that the totality of the script is profoundly altered, the staffer can claim sole script credit and relegate your credit to only story by... This is a very sensitive issue within the WGA because the moment a staffer adds her name to your script, that staffer than shares in your residuals in perpetuity.

I can believe it's extremely sensitive. My cousin's daughter was a writer on several sitcoms (In the House, Moesha, Meth & Red), and got screwed over for a movie script she wrote but the director took credit for. She wound up getting an "associate producer" credit in the movie. He claims the story was his idea and he changed so much of the script, she claims he didn't... It also doesn't help that he was the manager of most of the "talent" starring in the movie as well, so he was trying to get as MUCH of the pie as he could. I'm deliberately not mentioning the name of the movie, the manager/director or the talent because he's already in hot water and I don't want to be associated with it. But I just know that stuff like this happens and it's all people in the family have been talking about. I'm still like, "the movie is over, done and the talent are pretty much has-beens. Move on."

Edited April 20, 200817 yr by R Sinclair

Well, I didn't read it from the Screen Credits Manual, I read it from his book so I was just lettin' y'all know where I was getting my information from.

I know. I was just letting you know where he got it from.

All I know is that I'm still curious how things like that work. My cousin's daughter was a writer on several sitcoms, and got screwed over for a movie script she wrote, but the director took credit for. She wound up getting an "associate producer" credit in the movie. He claims the story was his idea and he changed so much of the script, she claims he didn't. He just changed the names and added or subtracted certain things... It also doesn't help that he was the manager of most of the "talent" starring in the movie as well.

 There was no WGA arbitration???

Tom Casiello seems to indicate that breakdowns have now been taken on by the head writers.

Link

YIKES! And he totally hit upon the first thing that popped into my head when I read that -- they're going to burn out!

There was no WGA arbitration???

That's what I'm trying to figure out. She talked about it in Black Enterprise magazine, but her mother was passing the magazine around in a dark bar during another cousin's 50th birthday party and I was too shitfaced to read it.

I'll PM you her name when I get a chance (I'm getting in my SON addiction before I go to church, LOL! I gotta hop in the shower now). Maybe you've heard of this situation... and I KNOW you've definitely heard of the "director" and "talent" in question.

That's what I'm trying to figure out. She talked about it in Black Enterprise magazine, but her mother was passing the magazine around in a dark bar during another cousin's 50th birthday party and I was too shitfaced to read it.

Your life seems like a soap opera! You should definitely write for one! BTW; I looove your avatar!

I'll PM you her name when I get a chance (I'm getting in my SON addiction before I go to church, LOL! I gotta hop in the shower now). Maybe you've heard of this situation... and I KNOW you've definitely heard of the "director" and "talent" in question.

OK, I'm waiting for it. When you find the time, send it to me.

Tooouuuups, any teasers on writers coming/going?

When is Michelle Patrick's last script gonna be.......

I am gonna miss her!

Tooouuuups, any teasers on writers coming/going?

Next tease will come in May.