The sad thing is, this win with those episodes will probably encourage more death, more half-assed pairings with no chemistry, and more stunts.

Y&R is doomed, but I don't care anymore. At least I know the people responsible for its creative demise when the show goes off the air in a few years.

The fact that Y&R won with a Lisa Connor episode, who sucks serious ass and has since she joined, should tell you something...

Her episodes are some of the most wonky, poorly structured, stilted in dialogue and movement pieces of crap I've ever seen. And it's consistent with her, so I know its her writing style and she's not just doing it because of "bad storylines."

I do not understand this Guild. I do not.

How can you award a show whose head writers took fi-core status? Sure, that's better than scabbing, but still...

However, like I said, this award in daytime — and it seems in primetime too, with a flood of new categories and thinner offerings from year to year — is quickly becoming a joke. It just has a bizarre, ineffective nominations/winner prodcedure...

One of the episodes was September 17, not September 16.

March 26- BDW: Hogan Sheffer; SW: Janice Ferri Esser

April 3- BDW: Marla Kanelos; SW: Janice Ferri Esser

September 17- BDW: Natalie Minardi Slater; SW: Amanda L. Beall

Hooray for Janice and Amanda for the winning scripts. Janice is my favorite Y&R SW, so I'm especially happy that 2 of 3 scripts were hers.

It just has a bizarre, ineffective nominations/winner prodcedure...

I actually think it's good. From what I understand, the voters read the outline/script and they're from other fields (film, primetime, etc). So they read the outline/script without any preconceive notions - they don't know the characters, history, storyline. They just read the actual words/episode and judge that. And sometimes what's on page is so much better than what appears on screen (and of course vice versa). If I'm wrong about the procedure, please correct me.

How can you award a show whose head writers took fi-core status?

Well, those Fi-Core writers don't actually get the award. There's no need to punish those who didn't go fi-core.

Amanda L. Beall

This woman writes the most ridiculous and out of character dialogue for people like Jack, Victor, Katherine, and Jill, AKA the characters that really matter.

I guess it's safe to say Janice carried them to this win, with two of the three scripts being her's. Even with her faults, she's still better than most, if not all, of that writing team.

Edited February 23, 201015 yr by Y&RWorldTurner

I actually think it's good. From what I understand, the voters read the outline/script and they're from other fields (film, primetime, etc). So they read the outline/script without any preconceive notions - they don't know the characters, history, storyline. They just read the actual words/episode and judge that. And sometimes what's on page is so much better than what appears on screen (and of course vice versa). If I'm wrong about the procedure, please correct me.

I copied something from the rule book here. The whole problem for me is... That I can't think of an effective and fair way to judge it. You'd have to read the projections, see it on air, read the outlines, scripts etc. Too much work, never going to happen. This how it's not really best written soap, it's three best written episodes out of [insert number (all soaps)] submitted. Not for the whole year, the best written soap is [insert name]: it had the best dialogue, best outlines and best stories.

Well, those Fi-Core writers don't actually get the award. There's no need to punish those who didn't go fi-core.

Yes, I understand that. I have no problems with that. It's when I take into account what I wrote above (best written soap for the whole year) that I see some problems. Because, if you judge a year, than it's also Maria's work and the awards is hers. They should just rename it into Best Daytime Script or something.

But who cares anyway, I don't. After giving the award to Kreizman...

Amanda L. Beall

Wait. Is it September 16th or 17th?

Jack, Victor, Katherine, and Jill, AKA the characters that really matter.

Janice writers the best for those 4.

I guess it's safe to say Janice carried them to this win, with two of the three scripts being her's. Even with her faults, she's still better than most, if not all, of that writing team.

Looking at the credits, I think Janice edited the September 17th episode too, so she had a hand in all 3 winning episodes.

I copied something from the rule book here. The whole problem for me is... That I can't think of an effective and fair way to judge it. You'd have to read the projections, see it on air, read the outlines, scripts etc. Too much work, never going to happen. This how it's not really best written soap, it's three best written episodes out of [insert number (all soaps)] submitted. Not for the whole year, the best written soap is [insert name]: it had the best dialogue, best outlines and best stories.

That's because there isn't a better way unless they want to add more episodes. Having 3 episodes is better than the Daytime Emmys where they only submit 1 episode. I think 3 is a good number.

Yes, I understand that. I have no problems with that. It's when I take into account what I wrote above (best written soap for the whole year) that I see some problems. Because, if you judge a year, than it's also Maria's work and the awards is hers. They should just rename it into Best Daytime Script or something.

It's a tv award show. There's no possible way to judge an entire year for any category (ie acting where you only submit 1 episode). Nobody wants to sit through so many episodes.

Wait. Is it September 16th or 17th?

17th.

Let me mention, that I'm glad Melissa Salmons managed to land herself in the wining team, even if she was there for about 5 minutes. I loved her scripts, and I think her OLTL scripts are often the best on that show. Now that's the mark of a great writer - when you go to different shows with different characters and manage to put out compelling dialogue that isn't ridiculous or out of character for most of the characters you're writing for.

Melissa is underrated and deserves more credit for her scriptwriting.

Why does Bibel say 16th?

The Y&R team chose Chloe and Billy’s wedding (April 3, 2009), the episode that Marge narrated when her body was exhumed (March 26, 2009), and the episode where Colleen has visions of her loved ones visiting her as she drowns (September 16, 2009).

It's a tv award show. There's no possible way to judge an entire year for any category (ie acting where you only submit 1 episode). Nobody wants to sit through so many episodes.

Precisely.

Which is why I'm saying the name isn't really appropriate. In all categories, it seems.

But hey...

Amanda L. Beall

This woman writes the most ridiculous and out of character dialogue for people like Jack, Victor, Katherine, and Jill, AKA the characters that really matter.

Hey!

As Katherine Chancellor always says, "CUT THE CRAP!"

Hey!

As Katherine Chancellor always says, "CUT THE CRAP!"

Not surprisingly, that's from Tom Casiello's awful script.

No way would Katherine ever say "crap" like that.

Not surprisingly, that's from Tom Casiello's awful script.

No way would Katherine ever say "crap" like that.

Shhhh...he's gawd's gift to soap writing. Don't you know that? He is loved by all here at SON....lol....or he was once upon a time.

Edited February 23, 201015 yr by Ruxton Hills